More than 100 modest and intimately scaled artworks in Still Life and the Poetry of Place provide glimpses into interiors, both humble and opulent.
The emphasis in Semmel’s retrospective Skin in the Game is on the various points of view she has taken on herself — and, briefly, on others too.
The artists in this Stony Brook University exhibition defy many of the linguistic and cultural hierarchies that museums often perpetuate.
In addition to predicting the coming of colonization, environmental destruction, and capitalism, Indigenous artists have also envisioned a world where these things never happened.
In the wake of the film’s nomination for the Best Documentary Feature Oscar, Stanley Nelson and Traci Curry speak to Hyperallergic about the uprising’s ongoing relevance.
In his first solo museum show, Klos continues exploring the intersections between the human form, the natural world, and the built environment.
It is one thing to be a visionary and another to be one whose work holds your attention for a sustained period of time.
Kelly’s collaged postcards provide an awareness of both his sense of humor and his sense of place.
Thek rebelled against his early virtuosity, and chafed against the aspects of religion that rejected his gayness, while remaining a devout Catholic.
Jackson’s exhibition The Land Claim began an extensive dialogue with local Indigenous, Black, and Latinx families on Long Island’s East End.
The Pattern and Decoration movement was a hard-charging assault on traditions both ancient and oppressive. It was also an explosion of joyously liberated impulses.
In her art, Goodman seems to both revisit trauma and heal it. The results are moving and painful.