As a new exhibition at Hauser & Wirth demonstrates, part of Szapocznikow’s extraordinary accomplishment as an artist was her ability to represent what many after World War II felt was unrepresentable.
At the Iziko Slave Lodge in Cape Town, an exhibition gives voice to a group of women whose lives were written out of history because they were considered too marginal to bother with.
Ellis’s manipulated drawings, watercolors, and photographs — based on shots taken by his father — are a window into the life of someone who experienced extreme deprivation and loss.
Raad exposes the way in which our accepted notions of historicizing events are simultaneously fact and fiction.
She opened up a space for women to be themselves — fully realized on their own terms. And that impulse is evident both in her life choices and in the formal decisions she made in her films.
An early proponent of feminism, Wilson has been exploring female identity in patriarchal society since the early 1970s.
In The Train: RFK’s Last Journey, an exhibition at Les Recontres d’Arles, photographs shot from RFK’s funeral train in June of 1968 take on new political relevance.
It is interesting that so many works in the Brooklyn Museum show Radical Women refer to the one form of power that men cannot dominate.
Hammer came out in 1970 and her work during that period feels tied to her declaration of independence from social norms.
Bernadette Mayer’s installation of a wall of images from 1971 is far too evocative of my own history for me to step back and see it “objectively.”
The Botticelli exhibition at the Museum of Fine Arts Boston, so filled with the hopes and ambitions of the Renaissance, seems especially timely in our deplorable political moment.
An exhibition at Hauser & Wirth uses the theme of seriality to drag photography out of isolation and into the larger framework of art making.