While Michael E. Smith’s sculptures and installations draw on conceptual art, his practice centers on the objects he uses, and the messy details of life.
Aldrich brings a rich sense of materiality to a practice founded on the gap between images and language.
For fans of Kelley and Shaw, Michigan Stories is a kind of origin story, a way to decipher the work of two multifaceted and prolific artists.
The exhibition is strongest conceptually when the curators focus on the artist collectives that sought a new social and cosmic order through art.
Grossen’s rope sculptures complicate the boundary between art and craft in a productive way.
There may be no artist in America better equipped to express the perversity of the Trump administration than Bernstein.
Ephemera provides an important history lesson, especially for a war that is disappearing from America’s collective memory, but the most affective works in World War I and the Visual Arts are those that convey the pathos of the war experience.
Flint Water Project politicizes the readymade, positing the bottles as symbols of gross negligence and misconduct on the part of city and state officials, and the dire consequences.
The talent and tumult of Richard Gerstl’s work beg the question of what would have been had he not ended his life.
Rama’s paintings confront us with empowered female sexuality and insanity.
At Winnipeg’s Plug In Institute of Contemporary Art, art acts as a kind of magnifying glass, exposing the city’s unconventional and, at times, undesirable aspects.
The artist’s presence in her current one-woman survey at Gavin Brown’s Enterprise is like a ghost in the machine.