Informed by the legacies of Standing Rock and the January 6 insurrection, the artist grapples with ideas around site and his own agency.
Derek Boshier’s commitment to being a witness to the catastrophes and jarring discrepancies of daily living has contributed to his near-invisibility in New York.
Luna was preoccupied with self-presentation in a society that, in its pursuit of whiteness, has never been able to recognize Native Americans as individuals.
Nilsson’s paintings come across as youthful and wise, a rare combination in any art.
Greenwold takes us down the rabbit hole into that place where fear and trembling preside.
There is something inelegant and unstylish about these paintings.
This year, the visions at the Independent Art Fair were multiple, with some galleries dedicating their booths to outsider and unknown artists, as well as work that is a bit more playful.
It is Gladys Nilsson’s attention to awkward and unconscious things that people do to themselves while out in public that makes her work fascinating to look at.
At one point, while looking at Roy McMakin’s four identical green tables, I had the sudden urge to wipe the dust off one of them, except there wasn’t any dust.
Richard Van Buren studied ceramics at Mexico City College. Later, he moved to San Francisco, where he studied at San Francisco State (1961–64).
In Mark Greenwold’s pencil drawing “Josie” (2015), at least three people and an oversized cat are gathered in a room under what looks like a skylight. A bespectacled man on the drawing’s right-hand side is wearing boxer shorts and a t-shirt, his erect penis poking through his shorts.