There’s a certain irony to the fact that Thompson, an artist who was so in-tune with the patterns of nature and the universe, posed such a fundamental challenge to mainstream art histories.
Defender, which launched online this week, tells the stories that get buried in the news.
“If you’re going to do art history,” Steinberg declared, “you’d better know what your artists were looking at. And that has to include prints.”
Inspired by children’s drawings, Hungarian folklore, and medieval legends, Torma’s playful, hand-sewn worlds are engrossing.
Jasmin Hernandez, author of We Are Here: Visionaries of Color Transforming the Art World, says her work is all about collective effort.
The impressive exhibition undertaken by the Capitoline Museums and the Torlonia Foundation was 40 years in the making, and placed close to 100 marble sculptures from the storied Torlonia collection on view.
The World According to Sound’s listening series has breathed new life into stagnant stay-at-home days and given me a meditative tool for coping with ever creeping anxiety.
Mason’s expansive Chelsea studio became her tuning fork — the barometer she used to check that colors and shapes were humming at the right frequency.
This year, Romero will be installing photographs of California’s Indigenous peoples on billboards and public places throughout Los Angeles.
From Do the Right Thing to Selma to Black Panther, Carter’s costume designs have long been defined by their ability to elevate characters too often marginalized.
The People’s Pottery Project is becoming a structure of support for formerly incarcerated women, trans, and nonbinary individuals.
The Gumbo and Honey & Smoke are spaces as radical as they are inevitable — a deliberate continuation of the work Black women have always found to be better done when they do it themselves.