Even for viewers who don’t believe in ghosts, spirits, or alien life, the works in Supernatural America possess their own power.
Stand Up Prints, the latest exhibition at Highpoint Center for Printmaking, showcases striking prints by artists from over 23 states.
In Red Exit, Andrea Carlson’s motifs celebrate the spaces Native people create for themselves.
From dental hygienist to professional artist, Bart knew all along that she couldn’t “just stay put.”
Galanin, a Tlingit-Unangax̂ artist, addresses climate change and its connection to white supremacy, as well as the commodification of indigenous cultures.
Hyperallergic sat down with Edgar Heap of Birds to discuss his current exhibition at MoMA PS1.
Jim Denomie’s paintings present an emotional response to the violence of white supremacy that emerged during the DAPL conflict.
In Yes, and the body has memory, a group of women photographers grapples with notions of trauma, family, ancestral connections, and the female body.
“I want to take the stories that children really do want many people to hear, and become almost a vehicle that helps these stories be more accessible,” says artist Essma Imady.
Naoya Hatakeyama’s photography reflects the human condition in our current age when we have removed ourselves from nature, secluded ourselves in the concrete trappings of roads, bridges, and buildings, far from mountains and the endless sky.
Sensory pleasure inspires this exhibition design, treating the last imperial dynasty of China as a feast instead of a major art movement.
Fans say Peter Remes attracts artists by illuminating the beauty of historic buildings — but critics call him a gentrifier and accuse him of jacking up the rent in buildings already used by artists.