Banhart’s first solo show in Los Angeles is at turns intimate and grandiose.
The artist, who gave an iconic ASL performance at the Super Bowl last year, draws our attention to the struggle of power, ideology, and systems in the juncture of languages.
In an essay in “Andy Warhol: Love, Sex, and Desire,” out from TASCHEN, Gopnik argues that Warhol had good reason to believe that daring gay imagery was where art ought to have been heading.
With its emphasis on never-before-seen painting and drawings, Luchita Hurtado. Together Forever. reveals the artist’s progressively sensual and abstract representations of the body, pushing the viewer to look much closer.
With cameras forbidden in federal trials, Jane Rosenberg’s drawings of high-profile trials, including Steven Bannon, Jeffrey Epstein, and Harvey Weinstein, offer unique insights.
“I didn’t want to be pigeonholed into that idea, the ‘COVID drawings.’ To me this was just part of a moment,’” she told Hyperallergic of her drawings depicting her fellow organizers and Bronx community.
Alternately funny, melancholic, erotic, and political, the Moroccan artist’s Bedworks series offers compassionate images of men blissfully enjoying themselves.
Maria Bussmann’s elusive drawings acknowledge the impossibility of fixing philosophical terms in imagery, like bugs in amber.
For artists and writers, self-isolation means doing what they have always done — which is work at home.
In this time of self-isolation and social distancing, shouldn’t the art world consider celebrating artists who don’t require expensive materials or run up high production costs?
A new series explores intimate encounters with a single work of art. This week, we look at Sandro Botticelli’s “Paradiso” (1480–1495).
The history of Hockney and his lifelong life-drawing itch, pursued now over seven decades.