Fred Tomaselli’s incorporation of printed news in his paintings long before the pandemic now seems downright prescient.
Josiah McElheny’s glass vessels concentrate the ethereal and boundless into the finite and physical.
Ethiopian artist Elias Sime makes wall sculptures from castoff computer parts that evoke the toxic dumping of these materials around the world.
In the age of 40-character electronic announcements and Instagram, Kathy Butterly has slowed looking down to a snail’s pace.
Yun-fei Ji composes a seamless synthesis of Western and Eastern art in the service of his subject: the government-sanctioned erasure of entire villages in the name of progress.
Larsen’s dry, matter-of-fact humor and eye for the absurd are everywhere in her paintings.
Tabaimo is not interested in dumbing down her references to Japanese culture, or in turning her art into entertainment for a Western audience.
Byron Kim’s diaristic texts offer a bird’s-eye view of his life — the youth soccer games, the dinner parties, the glum and the optimistic moods, the children going away to college.
Alison Elizabeth Taylor’s intricate marquetry yields uncanny scenes and complex visual effects.
Activists from as far away as Los Angeles and Vancouver came to Manhattan’s Chinatown to address the role of art galleries in gentrification.
The artist released a statement after Sunday’s protests, and the protesters have responded.
Dozens of people interrupted James Cohan Gallery’s Sunday hours to demand that the gallery and artist take down what the protesters see as “racist aggression towards the community of Chinatown.”