Jarmusch and Logan’s SQÜRL — which they describe as an “enthusiastically marginal rock band” — weaves a trippy musical accompaniment to four silent films by Man Ray.
The term “stained glass” hardly gets at the vast variety of techniques and range of effects achieved by Tiffany and his peers. It can almost be called sculpted light.
Inka Essenhigh’s futuristic Uchronia is a pastoral place where what was once work is now play.
Images of Americans in these prints tell us a great deal about the local culture as it met the West. They tell us, specifically, about what many Japanese feared, and desired, from the encounter of cultures.
A fan of chance and the lucky find, Robert Heinecken took every possible advantage of living in a media-saturated environment.
A sense of mystery pervades Enrico David’s art, in which a rich language of symbols suggests paths of possible interpretation.
Campbell implies that there has been one constant in the experiences of women across generations: the sexual aggression of men.
The figures in The Floating World indicate the new direction Japanese art was about to take over the next two centuries, its growing emphasis on daily life.
The Chicago version of Pop Art, embodied in the work of the Hairy Who, is sweaty, nervous, sometimes giggly or goofy.
Gaylen Gerber’s Supports, on view at the Arts Club of Chicago, continues to raise questions about what happens to an object when we place it in a gallery.
Segedin’s is an art of self-examination that opens out onto a real, lived, and, in many ways, vanished world.
Ivan Albright represents a deeply transcendent, even Platonic, idea of the soul, although one could be forgiven for missing it among the mercilessly unglamorous bodies of his figures.