The formal aspects of Mosley’s work have been thoroughly considered over the years, perhaps at the expense of exploring symbolism in his individual works.
A rising art-world star, Wong planned his exhibition Blue before his suicide in October. The show reveals a marked tension between beauty and melancholy, making it difficult at times to keep his biography and work separate.
Posy Simmonds was known for her particularly wry voice, but Paul Gravett’s book gives its namesake short shrift, not placing her clearly enough in the context of other illustrators.
Zohra Opoku’s sensitive and nuanced consideration of female, cultural, and cross-cultural identities are highly personal and profoundly politically relevant.
Eddie Arroyo decidedly updates the genre of American landscape painting, recording real-estate developments and gentrification and capturing the flux of contemporary urban landscapes.
The exhibition Elective Affinities draws viewers into stories of the Frick’s permanent collection and a contemporary artist’s intellectual and aesthetic reckonings and inventions with them.
Artist Mari Katayama uses objects both to reference her body and to submerge the viewer in a world where the expected limits of the bodily form are reimagined.
Björn Meyer-Ebrecht’s objects provide a stage, and the viewer is the actor who must perform the uprising.
The Art & Artifacts division of the Schomburg Center for Research in Black Culture in Harlem has finally moved its collection back home after years of offsite storage.
Bernard Gilardi’s exhibition suggests a positive grouping of misfits, a hopeful interpretation of the ambiguity within Gilardi’s paintings as a sanctuary for the odd.
In Mexico foregrounds Höfer’s images as records of a site’s architectural and sociopolitical history.
People Kissing: A Century of Photographs begins in the Victorian era and traces attitudes about kissing from “chaste” to “performance for the camera.”