Pylypchuk’s art has always been deeply engaged with the most painful parts of life, those that human beings tend to push aside or deny in order to get by.
Through her encounters with the spirit Lacamo, Peavy developed a cosmology based on 12,000-year cycles of evolution.
For Mayer, the passage of time is imbued with a sense of melancholy, of something already lost to the past.
Eversley’s parabolic sculptures draw us into a self-aware and ever-shifting encounter with space and perceptual phenomena.
For much of his career, Olesen has confronted both psychological and physical violence, perpetrated by power structures against non-normative bodies.
Ulala Imai does more than project human feelings onto toys; she proposes that they represent us, and that we share some of their qualities.
Aitken’s exhibition “Flags and Debris” is informed by a dialectic of embodiment and absence.
Carter’s paintings gesture toward unknown realms, whether death or nonhuman consciousness.
Judith Bernstein, Carroll Dunham, Alia Ali, and Tomashi Jackson talk about what got them through 2020.
Divya Mehra offers a complex view of race and identity that supplants the myth of a monolithic Other.
In Body Politic, McMillian unveils the insidious racial exclusion and oppression in Abstract Expressionism and landscape painting.
Implicit throughout the artist’s latest show is the tension between the feeling of failure and the struggle to be recognized and taken seriously, rather than erased.