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.
Before he turned 30, it was clear that Saul had found his subject: an American society deeply rooted in consumerism, pervasive racism, and toxic masculinity.
Davis recognizes that grids, networks, and circuits are not purely a product of the art world, and there are myriad contexts in which the government and corporate America deploy them.
A peek at Decoding Craft, an exhibition of works by Erin Lee Antonak and Sariah Park, presented as part of the ongoing Indigenous Women’s Voices Summit.
Michael Berryhill sees painting as an “amazing place” where the miraculous can still occur.
“Twenty years ago, you wouldn’t be caught dead being called a colorist.”