Art
Rosalyn Drexler’s Noir Paintings
I wonder if the reason Rosalyn Drexler isn’t better known is because she is so good at so many different things. We recognize such mastery in men, but rarely in women.
Art
I wonder if the reason Rosalyn Drexler isn’t better known is because she is so good at so many different things. We recognize such mastery in men, but rarely in women.
Art
As long as I can remember, I’ve organized and been involved in artist groups and collectives.
Art
The first time I saw Judith Scott’s work was in Rosemarie Trockel’s retrospective, A Cosmos, at the New Museum.
Art
There are nine lumps of plaster and Hydrocal — covered in yellowing shellac and polished wax — on display at CANADA on the Lower East Side, their domed tops roughly the size and shape of a human skull (hence the title of the exhibition, Crania).
Interview
Re-photographing (or re-purposing) the news media began for me as a healing ritual, a kind of laying-on-of-hands, to purge my despair over news events around the world.
Art
From the 1960s until his death in 1986, German artist Joseph Beuys produced some 557 multiples — small-scale portable and affordable pieces that captured an element of his practice.
Opinion
If you're looking for a very generous review of the Kehinde Wiley exhibition at the Brooklyn Museum, read Roberta Smith. If you're looking for one that's startlingly homophobic and racist, read Jessica Dawson.
Performance
Last week was an outstanding one for experimental theater in Detroit.
News
The Wadsworth Atheneum Museum of Art in Hartford, Connecticut, announced this week the acquisition of a curious memorial from the US Civil War that stands eight feet tall and is embedded with bone.
Opinion
Creative types aren't such an embattled minority as the battery of pessimistic articles predicting the end of painting or the novel makes them out to be.
News
This week in art news: One of the world's smallest artworks smashed, a $40 million lawsuit against the Keith Haring Foundation dismissed, and another major museum bans selfie sticks.
Art
LONDON — In 2000 Mark Francis and Jay Jopling curated an experimental exhibition project with a simple formula: one exhibition per week for 50 weeks.