In Seongmin Ahn’s paintings, it is not our past we are looking at but our possible future.
The artist’s droll paintings present the pie chart as a useful monitor of a group’s behavior, while also revealing it to be exclusionary and superficial.
Odili Donald Odita challenges the long-held belief that abstract art is a purely Western tradition.
Leiko Ikemura is concerned with the meeting place of the spiritual and physical, the ineffable and material worlds.
A show of early works by Jaffe challenges viewers to think about the road she pursued in her art, and what it means to go your own way.
What makes Siobhan McBride’s work as a whole interesting is her interest in the ambiguity, suggestibility, and elusiveness of everyday life.
The Chinese painter learned the state-sanctioned style of Socialist Realism and then elected to unlearn it in order to reinvent himself.
It seems Taaffe is looking at the present as an extinction event, and that one purpose of painting is to bequeath some record of history and time to the future.
The rules that structure Jane’s paintings take her to some place strange and fascinating, beautiful and perplexing, mind-boggling and riveting.
Steir’s work of the ’90s was the result of physically demanding processes. What happens when you cannot do what you once did?
Anselm Kiefer’s philosophy has its roots in German Romanticism, particularly the belief that the artist can mediate between the creative and the divine, between earth and heaven.
There is the singular artist and then there is the more exclusive club that has only one member. Harvey belongs to the latter.