Participatory photography aims to counter the pitfalls of photography as an exploitative or voyeuristic medium.
Emily Segal’s novel provides a wickedly sharp depiction of the socioeconomic and cultural conditions of New York’s creative community.
These alluringly physical objects provide an opportunity to explore the symbiotic relationship between sight and touch.
W.A.R. existed for a brief yet prolific period, from 1969 to 1971, igniting a robust movement against New York City’s art industry.
Samuel Marion’s satirical corporate website shows how the far right might leverage environmentalism to justify white supremacist agendas.
In Girl Pictures, the photographer presents a seductive fantasy of a world in which being a young woman is not cause for fear but a source of boundless freedom.
Composed of photographs culled from vintage Ebony magazines, the faces in these collages are reconstructed into new selves.
This exhibition provides an exciting starting point for exploring artists’ personal sites, statements, and YouTube videos.
Focusing on relationships between women, Machado also considers how heterosexual relationships shape and limit our understanding of what constitutes partner abuse.
For Maxine Chernoff, language is both the promise and the breaking of the promise.