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.
Artists and activists have a long history in the Skid Row neighborhood. An online archive documents their stories and influence.
Spilliaert saw his hometown of Ostend, Belgium, as a kind of liminal space between the outside and his interior world.
While Morton’s career spanned less than a decade (1968–1977), her work remains vital to questioning what it means to be a woman in art history and society.