For the artist, history doesn’t simply settle for repeating itself but jolts forward, stammers, pauses for breath, weaves around itself.
A commitment to trans subjects, and their queer communities, is manifested as a holding environment made approachable by our concern, grounded in intimacy and legacy, enfolding any viewer who will stop, listen, and receive love.
Pendleton and Sherald join two honorary trustees who have also stepped down from the board, though the artists did not state their objections to a contentious deaccession.
An excerpt from his limited edition artist book that accompanies his exhibition at the Isabella Stewart Gardner Museum in Boston.
Frieze Masters, where art from before the 20th century is for sale, raises questions about the sociopolitical role of art fairs and what small galleries gain by participating.
A new wave of black abstract artists are exploring ways to push the language of abstraction and still retaining their cultural specificity. And they’re not doing it alone.
The rewards of what is in plain sight far outweigh what is tucked away.
The artist’s largest solo exhibition to date explores blackness as a color, an idea, an identity, a method, and a political movement.
Between the four speakers of Chris Watson’s “Ring Angels,” the fluttering of a thousand wings fills a corner of City Hall Park.
Blackness in Abstraction is one of the best opportunities in years to face the riddle of the color black and the phenomenon of blackening.
The soothing piano music and soulful singing of Marian Anderson’s “Trampin’” filled the auditorium as artist Adam Pendleton began his performance at the Museum of Modern Art.