Moving too fast on your commute, looking out of the corner of your eye one second too late, and you might miss HOTTEA’s yarn installations.
The artist’s works resonate in West Texas, where the story of dehumanized and exploited migrant laborers is tangible and ever-present.
Over the past decade, the Taos-based artist has outfitted two vintage RVs with hundreds of cast glass pieces that collect light from the desert sky.
The artist says she wants to “confront people with beauty and pride and complexity.”
Mindiashvili’s installations strike a teasing balance between disclosure and concealment.
The Hirshhorn Museum exhibition, filled with reproductions and plaster casts of the Auschwitz-Birkenau concentration camp, works through the wounds and scars of a gruesome history.
Mika Rottenberg explores capitalist banality through video and installations centering international labor’s “invisible people,” using grotesque renderings of dystopian kitsch.
Inspired by the Japanese practice of ceramic repair, artist Rachel Sussman mends cracks in our urban environment with gold as part of her Sidewalk Kintsukuroi series.
When I arrived early on opening night of this year’s MIX NYC festival at a former manufacturing space in Sunset Park, Brooklyn, I heard a rumor that there used to be a panty factory there.
For the next two years, a constellation built by human hands over the ruins of a Hudson River castle is mingling with the stars.
NEW ORLEANS — Of all the stories about New Orleans, John Kennedy Toole’s A Confederacy of Dunces is one of the most universally beloved. So an artist who attempts to engage it in a different medium has their work cut out for them from the get-go: anyone who’s read Toole’s posthumously published comedic opus already has their own idea of how Ignatius J. Reilly and his world should be brought to life.
Sophie Calle moves into New Orleans’ 1850 House for her Prospect 2 installation and brings dozens of objects and stories with her — with mixed results.