On July 23, Maren Hassinger, in conjunction with the Brooklyn Museum, will scatter bits of white trash that she painted pink onto the lawns of Prospect Park.
The inaugural exhibit at ARTECHOUSE, a new gallery in Washington, DC focused exclusively on digital art, is both dramatic and quietly poetic.
For a performance conceived by artist Lola Gonzàlez, choreographer Oguri, and composer Paul Chavez, 60 people will march through the streets of Downtown Los Angeles.
With his current show at Socrates Sculpture Park, Nari Ward takes the lawn ornament to some odd, hallucinatory places.
The Committee’s Interior and Environment Appropriations bill now goes before the Senate, where a final federal budget for 2018 will be hammered out in the coming months.
Nearly 4,000 records from Rodolfo Lanciani’s personal archive are searchable through a new online database.
In other museums, fragments of the past are isolated into forgotten history, but at Kolumba, they are part of a dynamic whole.
An exhibition at David Klein Gallery brings together Buchanan’s evocative shack constructions and pastel drawings.
The images in Giovanna Silva’s new book are beautiful, but they’re simultaneously awash with heavy gloom.
Pippin Barr’s game It is as if you were doing work simulates the distractions and mundane tasks of the office, imagined for a future when work is replaced by machines.
On Wednesday, July 19, veteran and emerging women gallerists will discuss how dealers can do more to promote diversity and equity in the art world.
Performed at the Columbia Festival of the Arts, Manual Cinema’s The End of TV impressively incorporates shadow puppetry, live actors, video feeds, a live quintet, and lots of cutout paper props.