I cannot think of another narrative painter as expansive, surprising, funny, unsettling, tender, wacky, challenging, theatrical, and radically imaginative as Angela Dufresne.
Andrei Konchalovsky’s film depicts an artist full of ambition, paranoia, loathing, and regret.
Painting, as a verb, is a way of living in time, of inhabiting a state of solitude, even when you are with other people.
Pensato favored pop culture flotsam marred by the real world, which she transmuted into adventurous artworks dealing with raw, real world concerns.
Pusey’s cursive marks sit in that zone where writing becomes drawing and vice versa.
The change in hue and density from painting to painting struck me as simultaneously methodical and intuitive.
It’s hard to imagine how three minutes of Mozart’s Marriage of Figaro repeated for 12 hours can be so riveting.
Gentry was one of a number of Black artists who had to navigate the art world’s demand to emphasize their racial identity in the “right” way.
Burckhardt was never surreptitious; he did not hide his camera, and his subjects often knew they were being photographed.
The strength of Williams’s new work lies in its transgression of aesthetic and, by extension, social and political lines, which are drawn more sharply in these fraught times.
Fischl finds a visual bond between the seclusion of the affluent white world and the pandemic’s enforced isolation.
Toying with blob-like shapes and the illusion of depth, the Austrian self-taught artist Leopold Strobl packs mystery and expressive power into small-scale drawing-collages.