This week, reviewing Félix Vallotton, whitesplaining history, a note to curators, women in the commercial art world, Judith Butler on anti-semitism, and more.
New releases from Clairo, Oso Oso, Lindsey Stirling, and Tyler, the Creator.
Is there something self-aggrandizing about Gormley’s career-long obsession with making casts of his own body?
There is both vulnerability and strength in Buckman’s texts and bodily forms.
A remarkable cache of drawings by a now-deceased, African-American prisoner in Ohio might be just what the art market has been waiting for.
Sara VanDerBeek’s new print series, Women & Museums, interrogates how women occupy institutional spaces, particularly through the prominence of traditionally craft media like ceramics and textiles.
William Powhida reorients our perspective away from the individuals who lead and fundraise for cultural institutions and redirects it toward international flows of capital.
If there is a folly to what Zhang Wei has done, there is also a defiance of the commercial aspect of the art world.
Wiley is contributing his own public monument to American history, which will later join 10 Confederate sculptures in Richmond, Virginia.
Over 50 protestors gathered outside the Ford Foundation’s Manhattan headquarters, responding to the foundation president’s statements in support of New York City’s plan to close Rikers Island prison complex and build smaller detention facilities in its place.
Four art students in Savannah, Georgia, were confronted by a man telling them to speak English.
In eschewing claims to an unmediated reality, Synonyms reveals truths about French society often masked by reality itself, while Young Ahmed obscures crucial systemic injustices in Belgium under the guise of realism.