Karsten Creightney’s familiar yet uncanny landscapes transport, disrupt, and open possibilities for new worlds.
In SCUMB Manifesto, Kurland slices up her collection of photo books by men to create collages that subvert the male gaze.
The donation of Ashley Bryan’s work marks the Morgan’s first major acquisition of work by a Black children’s author and illustrator.
The art of the collagiste is essentially the art of the scavenger, the opportunistic thief.
Rachel Blau DuPlessis’s work illuminates connections between poetic expression and public accountability.
Composed of photographs culled from vintage Ebony magazines, the faces in these collages are reconstructed into new selves.
Zohra Opoku’s sensitive and nuanced consideration of female, cultural, and cross-cultural identities are highly personal and profoundly politically relevant.
Nathaniel Quinn’s first museum solo show features work which suggests that reality might best be recognized by its disjunctions rather than by single-point perspective.
How can one static image begin to capture lived experience? Njideka Akunyili Crosby answers this question with astonishing polish and grace.
Ray Johnson’s exhibition at Matthew Marks is proof that the eccentric collage and mail artist’s works were never meant for gallery walls.
In his exhibition at Thierry Goldberg Gallery, David Shrobe uses the nonsensical and irrational as tonics for the relentless instrumentalization of what we purchase and consume.
In his only lecture on photography, Albers warned students against approaching photography carelessly, and the collages he made of his own photos show how he put that mantra into practice.