At the center of the acclaimed Abenaki filmmaker’s practice is her effort to counter White, colonialist versions of history.
“My drawings were always kind of grim and dark, and leaning toward the nasty part of art, whatever you want to call it,” Jones explains in an interview with Hyperallergic.
The story of a Gee’s Bend quilt, McKenzie Wark’s new memoir, Native photography, motherhood in light of Agnes Martin, and more.
The exhibition Women Defining Women at LACMA suffers from poorly defined parameters and a weak understanding of its own premise.
Bernstein’s latest works are beset with a deathlike quality rarely seen in her earlier pieces, even ones that directly addressed death in war or genocide.
In the early ’90s, the Kids in the Hall transgressed boundaries of propriety, gender, sexuality, even species as an alternative to binary thinking.
Five Southern California Views taps into the mythology of the West as an expanse for the imagination, only to decenter the human presence.
The works that best exemplify a uniquely German grotesque in Reexamining the Grotesque are those that reflect the war and Weimar years.
Given a platform to say something — about first-world capitalism, its attendant environmental destruction, or the definition of the self through objects — why not use it?
The twilight state between dreaming and waking that permeates a restoration of Maddin’s Tales from the Gimli Hospital echoes that of life and death in his films.
In Benglis’s latest works, the forces of gravity that defined her seminal poured latex and polyurethane pieces are traded for luminous bronzes.
In attempting to convey atrocities that confound language, artist Phyllida Barlow comes up against a paradox with no easy resolution.