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Timely, Exciting Work by Women Artists at Miami Art Week
Visceral, tender, and sometimes frightening works by women brought dynamism and a huge range of perspectives to the fairs of Miami Art Week.
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Grim Vistas of Present and Future Dystopias
In Anna Conway's paintings, subtle evocations of the past highlight the tensions of our current moment.
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How a Jewish Storytelling Tradition Is Reflected in Contemporary Art
With varying degrees of success, a show at the Contemporary Jewish Museum in San Francisco looks at how storytelling can help us access spirituality.
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The Haphazard and Playful Worlds of Mark Dion
In this retrospective there’s no question about Dion’s aesthetic eye and his capacity for the subtle, intuitive kind of taxonomy-making that artists engage in.
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Required Reading
This week, Pantone announces the color of 2018, origins of art merch, creating the modern museum blockbuster, how board games promoted Christianity and capitalism, and more.
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Stage Struck: Marc Chagall's Theatrical Designs
Chagall's dynamic costumes and experimental sets inspire a reconsideration of his entire body of work.
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Four Bay Area Iconoclasts and Eccentrics
For New Yorkers, the artists Jean Conner, Wally Hedrick, Deborah Remington, Franklin Williams range from little-known and neglected to unknown altogether.
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Totems for a Religion of One
Michelle Segre’s rejection of commodity fetishism and a society that worships shiny surfaces is to be admired because she does it with such verve.
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The Corporate Coup
Economic inequality has reached levels not seen since 1929, the year when so many citizens were propelled into poverty.
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In Japan, Issei Nishimura Paints the Blues
Nishimura paints, plays music, and enjoys the companionship of his cats, but rarely ventures out.
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The Frozen Gestures of Lynda Benglis
Benglis always carried the painting process into her work, resulting in a visual representation of material in action.
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The International Modernisms of World War I
Ephemera provides an important history lesson, especially for a war that is disappearing from America’s collective memory, but the most affective works in World War I and the Visual Arts are those that convey the pathos of the war experience.