Michael Berryhill sees painting as an “amazing place” where the miraculous can still occur.
What distinguishes Levinthal from her contemporaries is her ability to evoke a melancholic state that has been heightened by the COVID-19 pandemic.
Hank Lazer’s COVID19 SUTRAS amounts to a diary of what it is to be alive in the midst of a pandemic and a growing demand for racial justice.
Luna was preoccupied with self-presentation in a society that, in its pursuit of whiteness, has never been able to recognize Native Americans as individuals.
In his clashing compositions and use of artificial colors and materials Odita generates something very different from artists associated with geometric abstraction and Minimalism.
There is a coolness to the way Park paints her figures, as well as a sculptural attention paid to form and surfaces.
With his recent works, Mangold underscores a consciousness of mortality that he meets with a gracefulness that is breathtaking.
Given his red-dominated palette, I don’t think it is implausible to suggest that one of Frank Holliday’s subjects is conflagration — a world consumed by fire.
For all the sameness of material and process, Kobayashi was able to attain a wide range of nuanced feeling and subtle pictorial conventions in his tin artworks.
Lawrence Ferlinghetti marks his 101st year with his first solo exhibition of paintings in New York.
My biggest regret is that I tried a little too hard to fit in when I first began writing art reviews in 1977.
Whether we examine Warhol’s work from a Marxist viewpoint or through the lens of queer studies, what has been sidestepped in nearly every discussion is his relationship to race and ethnicity.