The Annenberg Space for Photography maps the complex landscape of walls and rends, openings and sutures, that, to an ever-larger degree, defines our age.
The Huntington Library is exhibiting 250 of its objects that were made, edited, or acquired in 1919.
In its early years, Otis’s success rested on the intersectionality of its students who also came from a diversity of creative fields.
Bauhaus Beginnings succeeds in reanimating the dialogue that began in the school’s classrooms and hallways, and in following it, as it spilled out into the streets of a country.
The documentary Bellingcat explores the limits and possibilities of activists using social media and public data for investigation.
By approaching Castro’s Cuba from the margins, author Anna Veltfort creates a unique lens through which to observe the mechanisms by which a political system acts upon those who live within it.
Brian Rose’s Atlantic City connects what Trump did in that city as a businessman to what he’s doing to the US as president.
Sarah Lucas’s performance at the Hammer Museum was satisfying, liberating even. Women are not supposed to express anger, and we sure as hell aren’t supposed to make a mess.
It’s not often that you find a space in which communication is not only possible, but encouraged across time, discourses, and borders.
A substantial number of works held a great deal of possibility and promise at this year’s CalArts Graduate Open Studios.
The “34,000 Pillows Project” began in 2009, when the Detention Bed Mandate required ICE to occupy an average of 34,000 beds every night across 250 detention facilities nationwide.
On Saturday, crowds packed the airplane hangars converted into studios to see the works of artists who opened their spaces for the day.