Due to the pandemic, museums and galleries are now creating virtual experiences. Here’s what it’s like to visit them.
The body glistens. It is naked. It is torqued so that the face faces one bearing and the belly and genitalia faces the opposite. The translucent surface that skins the figure gleams wet.
For Hafif, painting was a meditative act, a clarifying ritual.
In Anna Conway’s paintings, subtle evocations of the past highlight the tensions of our current moment.
In a performance at Fergus McCaffrey gallery, Clifford Owens used his body as an instrument to propel others not to fear, but to trust.
Even for viewers familiar with the diversity of art forms cooked up by the Gutai artists and the attitudes that informed them, much of what is on display in this Yoshida show may come as a surprise.
Women artists are ubiquitous at the most august of the week’s art fairs, from canonical figures like Lee Krasner and Lee Bontecou to lesser-known figures like Zilia Sánchez and Evelyn Statsinger.
There are certain exhibitions in which some or many of the works on display are so interesting, provocative or well-made that they somehow manage to surmount whatever restrictive or overwrought critical-theoretical trappings their organizers have erected around them, defying the analytical filters through which they are meant to be considered and understood.
Most photographs of real-life events tend to be documentary by nature, but the kind of photographic image-making that makes a point of approaching its subjects with an “objective” viewpoint and a for-posterity sense of purpose — can such photos ever convey a truly neutral position vis-à-vis their subjects?