The animal carcass sculptures are gruesome yet their materials — the artist’s own discarded clothing — lend them some gentleness.
This group show proposes fresh paradigms of land ownership and art making in contrast to the rugged individualism of much early Land Art.
Speculations about climate change by an array of artists feel eerily probable, if not already real.
Mark Hage’s photos of empty storefronts reveal how real-estate development leaves behind sites of civic neglect.
Gyun Hur’s and Shoshanna Weinberger’s installations emphasize poetic innuendo rather than overt autobiography.
Employing drones, Mosse creates psychedelic aerial maps of ecological degradation.
Mindiashvili’s installations strike a teasing balance between disclosure and concealment.
The graphite floor map can be understood as a post-apocalyptic landscape, a commentary on artistic labor, or a parable about COVID-era confinement.
Works by 10 artists have been installed on an ice floe in arctic Sweden where they will remain until the ice melts and they sink into the sea.
Fernández employs motifs of darkness and obscurity to hint at the something beyond what we see.
Mattingly’s landscape photographs evoke each site’s geologic timeline.
Skinner imagines the jury-rigged technology that would enable survival in the wake of apocalyptic climate disaster.