It seems Taaffe is looking at the present as an extinction event, and that one purpose of painting is to bequeath some record of history and time to the future.
Kahlil Robert Irving alleges that a hotel manager and his associate, both White, trespassed on his room during his stay and proceeded to verbally assault him.
Central to The Medieval Body at Luhring Augustine is the tension between the bloodied or bruised abject body and the beatified soul.
It can be tempting to compare these historical Indian paintings with familiar examples from the Euro-American canon but that would do a disservice to these artworks, which are revelatory on their own.
While hardly about the pandemic, or any of the other crises so afflicting us, all are invoked in this exhibition, which is also often tender and profoundly soulful.
As tyranny surges in 2020, imagery of these holy ladies — on view in Gothic Spirit: Medieval Art — might offer more than first expected.
Taaffe is able to bring the exterior, visible world as well as the interior imagined world into his paintings. To me, this is what distinguishes him from his contemporaries.
Zarina’s collages evoke the intense yearnings of a migrant in search of a home.
Simone Leigh’s chief subject is, in her own terms, “black female subjectivity,” hardly a predominant theme in an art world that has skewed way white and male since its inception.
Sculpture at Luhring Augustine posits contemporary sculpture as a corrective to politically regressive monuments in the United States.
We could never leave Brooklyn and still miss a slew of shows in our home borough. From outdoor art along the waterfront to group shows in Bushwick and ambitious political projects at Dumbo nonprofits, there was no shortage of great work in Brooklyn in 2016.
As the sounds of a storm fill the gallery, the illuminated caravan begins to clatter with life.