The digital Letterform Archive has made nearly 1,500 objects accessible to browse online through over 9,000 high-resolution images.
Thomas’s Femmes Noires reframes the gallery space, allowing viewers to alter their behavior from what’s expected in an art institution.
Robyn O’Neil’s oversized, multi-panel graphite drawings resemble a graphic novel told across multiple walls and rooms. This narrative storytelling makes sense, as O’Neil’s cited influences are more literary than artistic.
Sara VanDerBeek’s new print series, Women & Museums, interrogates how women occupy institutional spaces, particularly through the prominence of traditionally craft media like ceramics and textiles.
LeWitt’s bookmaking fits squarely within his commitment to order and seriality, revealing his overall practice as a total work of art.
I Know What I Am: The Life and Times of Artemisia Gentileschi weaves together known facts of Gentileschi’s life with the politics of art patronage.
The works at Center for Book Arts embrace a wide spectrum of emotions and subjectivities outside of White-centric definitions of what an “American” is.
While many of Julia Kuhl’s paintings are funny and provocative others are more troubling, alluding to the ways women’s personal, professional, and sexual boundaries often go broadly unacknowledged.
Thinking of a Place fosters a feeling that we are seeing just a slice of what’s out there, potentially leaving us with a desire to experience the full picture of place.
Kate Zambreno’s Screen Tests show us that all good criticism is about what it means to look, slowly and closely.
What happens when an artist’s mythologized life distracts from his work?
Amaranth Borsuk’s The Book traces how the nature of reading changed from an activity practiced by a small number of scholars to a pastime of the masses.