Art
Stephanie H. Shih’s Time Capsules of the Heart
She rescues objects from the garbage bin of mass-produced memory and reimagines them as art.
Art
Art
The Opulent Beadwork of Black Masker Demond Melancon
The Louisiana-based artist, known for his hand-beaded portraits and Mardi Gras Indian suits, is the recipient of this year’s 1858 Prize for Contemporary Southern Art.
Art
The Singular Wit of One of the New Yorker’s First Women Cartoonists
Barbara Shermund’s single-panel cartoons, drawn with a seemingly off-the-cuff fluidity of line and expression, came to define the magazine’s sense of humor.
Art
The Nefarious Power of the Unseen
Invisibility: Powers & Perils raises exciting questions around racial, technological, and ecological invisibility, and leaves us asking for more.
Art
Cosmo Whyte’s Whispering Portals
By blurring the line between individual and collective memory, the works demonstrate the Panafrican ideal that our experiences are part of a shared narrative.
Art
The Iconoclastic Vision of Barkley L. Hendricks
The late artist’s work has always bristled against the boundaries of categorization, and it does so particularly here, in an exhibition centered around Afrofuturism.
Art
How Craft Helps Chamorros Reconnect to the Ocean
Its contemporary practice reinfuses values into ourselves and our culture, which was deemed unimportant by colonization.
Art
Five NYC Art Shows to See This Week
From AbEx giant Cy Twombly to explorations of assimilation by Serena Chang to the politics of prettiness in the portraits of Marie Laurencin, these shows deserve close looking.
Art
Nathalie Djurberg and Hans Berg’s Fairytales With No Heroes
The pair tell a grand drama of depravity and degradation, sometimes enacted by official powers like Church and State, other times by rogue players.
Art
Allan Wexler Magnifies the Absurdity of the Everyday
In his first exhibition in nearly a decade, the artist-builder presents sculptures that are alternatively strange, optimistic, and critical.
Art
We Are Also the Darkness After the Big Explosion
Nolan Oswald sees the pre- and postcolonial worlds as contemporaneous and interlocking.
Art
Prettiness Is Political for Marie Laurencin
The artist has a point: Why is aesthetic pleasure often relegated to the sidelines of art? Why paint rotting fish when you can paint pretty femmes?