Though at times seeming incomplete, Judith Barry’s exhibition lends space to the otherwise untold stories of women in Cairo.
Moyer’s new paintings revel in color and visual pleasure, scrambling distinctions between abstraction and representation.
Abney locates much of her work on the recognition that abuse and violence are an integral part of the everyday consciousness of people of color.
Some artists get the honor of having their work displayed in the White House, but chances are Saul will never be one of them.
Four Ai Weiwei shows across Manhattan explore the aesthetics of crisis and the deluge that might consume us.
On this week’s art crime blotter: two men tried to steal a copy of a Banksy, a sculptural tribute to Trump was set on fire, and Alec Baldwin accused Mary Boone of selling him the wrong Ross Bleckner painting.
On this week’s art crime blotter: Norwegian youths destroyed a stone-age engraving of a skier, Mary Boone sued an art adviser over allegedly ill-gotten KAWS works, and a Salvador Dalí sculpture was vandalized in Quebec City.
The Life of Forms exhibition, now on view at Mary Boone gallery is a relatively standard summer show smorgasbord, but one artist who stands out to me is Doug Ashford.
With her remarkable new exhibition at Mary Boone — her second at the gallery in eight months — Judith Bernstein resurrects the imagery of her Vietnam-era works in a savage takedown of contemporary American politics and its testosterone-fueled will to power.
2015 was the Year of the Whitney.
Peter Saul has an uncanny ability to seamlessly combine the hilarious and the hideous to great effect. In the middle of chortling at one of his wacky, indecorous paintings, you are apt to suddenly notice an odd and even disturbing detail.
Sometimes you think you have a handle on an artist’s work, and then a new piece of information comes along that casts it in an entirely different light.