The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Jane Irish’s work offers an archive of painterly traditions juxtaposed with horrific acts of violence driven by the moneyed class.
Can non-representational art reflect social change?
The exhibition “Shofuso and Modernism” presents a synthesis of International Style and Japanese craft traditions.
Ben Gocker isn’t yearning to be released from the impermanence of his body. His work shows his acceptance of nostalgia and melancholy.
In Intimate Immensity at PAFA, touch, materiality, the sensual, and the subversive are part of a feminist lineage.
In Evan Fugazzi’s paintings we are given the pleasure of experiencing how each color helps to define the others.
Rina Banerjee’s work is a melange upon a melange of images, ideas, and information existing in contrast to the fact that we can never know everything.
Initially uninterested in boxing, Fink became hooked on exploring this world of grand ambitions and human vanity.
Tal R reminds us that what’s painted is inherently fiction, that the world of a painting is a reality unto itself.
Poet, editor, and art critic William Corbett passed away on August 10th.
Clipping photos and phrases from army recruitment magazines, Theodore A. Harris began his decades-long critique of the relationship between militarism and capitalism.