Thomas J Price’s bronze statues of Black individuals look like people we might know or see out in public, rather than generals and political leaders.
Steir’s work of the ’90s was the result of physically demanding processes. What happens when you cannot do what you once did?
Despite themes of alienation, fragmentation, and “global domination,” there are indeed elements of lightness, wonder, and curiosity in Rottenberg’s work.
In attempting to convey atrocities that confound language, artist Phyllida Barlow comes up against a paradox with no easy resolution.
I was left wondering whether more of a connection could be made between some of the artists and artworks and the artists of Gee’s Bend.
I cannot think of another American artist who went as far as Guston did without a safety net.
Taylor’s paintings emphasize that golf and horse racing, though once exclusively activities for privileged white men, depended on the support of men who were almost invariably Black.
Focused on Whitten’s legacy-defining cumulative process, I AM THE OBJECT assembles a mesmerizing selection of works, each its own tiny universe.
Looking at the upcoming shows from Pace, David Zwirner, Gagosian, and Hauser & Wirth one hardly gets the sense that we are in a moment of acute crisis.
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.
Over 100 artists, including Rashid Johnson and Jenny Holzer, have donated work for a sale that will benefit arts nonprofits based in New York City.
Composed of photographs culled from vintage Ebony magazines, the faces in these collages are reconstructed into new selves.