Carter’s paintings gesture toward unknown realms, whether death or nonhuman consciousness.
Natalie Haddad
Natalie Haddad is an editor at Hyperallergic and art writer. She received her PhD in Art History, Theory and Criticism at the University of California San Diego. Her research focuses on World War I and Weimar-era German art. She has written extensively on modern and contemporary art and has contributed essays to various art publications and exhibition catalogues.
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Four Artists Recall a Year to Forget
Judith Bernstein, Carroll Dunham, Alia Ali, and Tomashi Jackson talk about what got them through 2020.
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The Fallacies of Whiteness
Divya Mehra offers a complex view of race and identity that supplants the myth of a monolithic Other.
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Rodney McMillian Deftly Treads the Line Between Politics and Aesthetics
In Body Politic, McMillian unveils the insidious racial exclusion and oppression in Abstract Expressionism and landscape painting.
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Cosima von Bonin Takes Cute Art Seriously
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.
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A “People’s History” of Los Angeles’s Skid Row
Artists and activists have a long history in the Skid Row neighborhood. An online archive documents their stories and influence.
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Léon Spilliaert’s Nocturnal Visions
Spilliaert saw his hometown of Ostend, Belgium, as a kind of liminal space between the outside and his interior world.
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Ree Morton’s Personal Work Asserts That Art Doesn’t Exist in a Vacuum
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.
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Ann Greene Kelly Estranges the Familiar
In Kelly’s sculptures, manmade objects morph into new or composite forms that seem to verge on organic.
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120 Artists Create a “Drive-by-Art” Exhibition Throughout Los Angeles
The exhibition includes both well-known and emerging artists and reaches across LA County’s varied neighborhoods.
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Johanna Went, the “Hyena of Performance Art”
Messy, anarchic, and sexualized, Went’s performances around Los Angeles from the late 1970s through the ’80s refused to be reduced to a single thing.
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The Enigmatic Beauty of Leidy Churchman’s Paintings
Churchman raises pointed philosophical and sociopolitical inquiries by coaxing viewers toward a position of otherness.