Much like her writing, O’Grady’s photomontages pressure binaries until something other, something “both/and” emerges.
Working amid the AIDS crisis, Hugh Steers’s paintings exude a graceful, figurative style that went under-recognized during his brief lifetime.
Edwards’s sculptures, on display at Alexander Grey Associates in New York, establish him as a master of his various crafts with with an acute sense of rhythm and movement.
Now 84, the renowned abstract artist reflects on his Guyanese upbringing and the legacy of colonialism in a striking new series of paintings.
After starting out as a figurative artist, Frank Bowling began pouring paint in 1973; he has always been the figure who doesn’t fit.
Rosen employs a visual idiom of protest that relies more on wordplay than imagery.
Her reputation as a dealer has conveniently overshadowed her identity as an artist.
Over the course of his life, Sergei Eisenstein amassed 5,000 sketches, including his “sex drawings,” which depict various sex acts that are not limited to humans.
Joan Semmel has created a distinctive body of work largely centered on painted images of her own body.
Harmony Hammond has had a pioneering impact on art, in particular through her insistence on feminist and queer content in abstract work.
2015 was the Year of the Whitney.
One of the many striking works in the exhibition Jack Tworkov: Mark and Grid is a large abstraction from 1977 called “Knight Series #8 (Q3-77 #2).” Resembling a Synthetic Cubist floor plan, it is in fact an experiment in gaming that looks back to the anti-art of Marcel Duchamp and forward to the rules-based systems of 21st-century conceptual painting.