Uniting the personal and the political, Rope/Fire/Water positions Pindell’s creative process as entry points towards learning and healing, for both herself and others.
Building on an influential 1977 feminist exhibition, the Smithsonian’s updated edition takes a more inclusive approach, adding further nuance to the question of how and who gets to define feminist art.
Dialectics of Entanglement: Do We Exist Together? revisits A.I.R.’s 1980 exhibition Dialectics of Isolation, important for its promotion of women artists of color at a time when the New York art world was painfully exclusive and discriminatory.
A survey at the Museum of Contemporary Art Chicago illustrates how the artist shifted from formalist painting to personal, political art.
This rigorous exhibition uses art to critique the stereotype that men and technology go hand in hand
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.
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.
As much as Howardena Pindell’s unstretched paintings and drawings share something with the Pattern and Decoration movement, or with monochromatic abstraction, color field painting, all-over painting, fiber art, the counting work of Roman Opalka, and the spot paintings of Larry Poons, what elevates them above all of these aesthetic and stylistic connections is her subtle infusion of a deep and palpable rage.