Combining elements of Surrealism, Symbolism, and portraiture, Vicuña’s paintings are parables of personal and political awakening.
Louis Bury
Louis Bury is the author of Exercises in Criticism (Dalkey Archive Press, 2015) and The Way Things Go (punctum books, forthcoming 2023). He is an Associate Professor of English at Hostos Community College, CUNY, and contributes regularly to BOMB and Art in America.
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Duke Riley’s Burlesque Spin on the Trappings of Museum Display and Folk Art
Riley’s nautical-themed exhibition brims with antic details that constitute a feat of serious world-building.
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Laurie Parsons’s Disappearing Act
An artist book introduced by curator Bob Nickas seeks to introduce a new generation to the artist, who abandoned her art career 30 years ago to practice social work.
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NYC Exhibition Invites Viewers to Go for a Nap
For all its quirks, Sprout Hinge Nap Wobble’s immersive elements never feel gimmicky.
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Athena LaTocha Digs Deep into Brooklyn’s Past
The artist’s wall-size drawing evokes a geologic mood within a neighborhood that has changed in recent decades.
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Lina Puerta’s Art Mimics Botanical and Female Anatomical Forms
Puerta’s artworks strike a gentle balance between whimsy and sincerity.
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The Penalty Presidency
A conversation with Richard Kraft about his artist book in which he created penalty flags for nearly 10,000 of Trump’s misdeeds.
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Tamara Kostianovsky Envisions a Whimsical Slaughterhouse
The animal carcass sculptures are gruesome yet their materials — the artist’s own discarded clothing — lend them some gentleness.
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Who Owns the Earth?
This group show proposes fresh paradigms of land ownership and art making in contrast to the rugged individualism of much early Land Art.
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Imagining Our Climate Future
Speculations about climate change by an array of artists feel eerily probable, if not already real.
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An Archaeology of Loss in New York City
Mark Hage’s photos of empty storefronts reveal how real-estate development leaves behind sites of civic neglect.
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Ecological Art Infused by Memoir and Identity
Gyun Hur’s and Shoshanna Weinberger’s installations emphasize poetic innuendo rather than overt autobiography.