The close, careful, and subtle observation I found this year is representative of precisely why I continue to gravitate to this fair.
When we honor King publicly, as many in the art circle did on Monday, we use these moments to do more than just remember and pay tribute.
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
What unites all these projects is a clear sense that they exist in a world unto itself: the digitized space.
A thought experiment I sometimes engage in is to ask myself what kind of god would make the world that is being represented in the work I’m seeing.
Michael Mandiberg’s Timeframe exhibition gives the viewer a window into a period of time when they had to deal with the breakdown of their own body.
Wifredo Lam developed a style that dances between figuration and abstraction, but the selected compositions at Pace gallery tend to repeat.
If a digital site is described as an “exhibition” I go to it wanting a visual experience animated by lively and inventive juxtapositions and means of navigation.
“Behold” here, in this exhibition, is an invitation to see the intertwining of aesthetic concerns and the rigors of political and historical exploration.
Her witchery is mischievous, aiming to trick the beholder into a quite fragile enchantment.
BOCA RATON, FL — One of the first things I see as I walk into the gargantuan Schmidt Center Gallery on the campus of Florida Atlantic University is a wall assemblage that in the aggregate, from a distance, looks like the profile of a fish gaping its mouth to swallow some floating trinkets. I get […]
Sounding Board does not do what I expect from contemporary performance with its staged acting and scripted plot and dialogue, but it still succeeds.