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Coleman not only embraces her multitudes, but changes effortlessly from one persona and voice to another — things she needed to do in order to survive as a single Black mother raising two children in Los Angeles.
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What makes Written Matter different from some artists’ journals is that one need not be familiar with Orozco — or even the legacy of Conceptualism to which his work is tethered — to enjoy it.
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Maggie Doherty’s The Equivalents follows the Radcliffe College Institute for Independent Study’s role in mid-century feminism, and explores the ways in which it fell short.
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Titled simply Miranda July, Prestel’s excellent new “mid-career retrospective” of the artist highlights July’s enduring interest in the very darkest aspects of human existence.
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Lacking formal training in art, Joris-Karl Huysmans had a knack for seizing on the unanticipated, the gritty, and the revelatory in painting.
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This exhibition provides an exciting starting point for exploring artists' personal sites, statements, and YouTube videos.
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No exhibition of any pretension is complete without lasting proof of its existence, preferably in print on coated paper.
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Reading between the lines of contact information for friends, graphologists, psychoanalysts, and plumbers, Brigitte Benkemoun’s Finding Dora Maar reveals a map of a bygone France.
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As exterior life shuts temporarily down, Funny Weather: Art in an Emergency is a useful reminder that connection can be intellectual as well as physical.
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Throughout her work and in her latest volume, Concordance, Howe confronts the plight of the female writer in a masculine literary culture.
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Madeline Gins uses the form to dislodge our notion of individual subjectivity, the narrator commonly known as “I.”
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Two new books focusing on journalism and news, and on how they are delivered, offer expansive visions of what “the media” have become.