While Tatsumi Hijikata and Eikoh Hosoe reflected the countercultural mood of Japan’s postwar avant-garde, the trauma of World War II is inscribed in both artists’ aesthetics.
The Pleasure Principle at Maccarone wavers between issues of women’s representation and those of pornography and art, without fully committing to either.
Strau’s collage-paintings merge the word and the light, while positing the shared slipperiness of language and faith.
Kaari Upson’s work resonated with the excesses and liberties that characterize the relationship in Hollywood between powerful men and less powerful women.
The 2018 incarnation of Universal Eyes has been a moment to look forward to, and an opportunity to look back on the noise and experimental music scene that emerged in the 2000s in Michigan and the Midwest.
Douglas’s historical and new works, shown alongside pieces by younger artists, draw a line of influence between the two generations and establish a community of shared concerns.
By returning to the details of life embedded in bodies, objects, and the earth, the artists featured in Before the Fall at Neue Galerie conveyed the hope that the world might reassemble itself.
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.