To respond to an animal in Harrison’s imagined world is to grasp how closely its existence is linked with that of all the others.
Suzan Frecon insists that art is a wordless experience, that paintings invites us to a plane beyond understanding.
Given his red-dominated palette, I don’t think it is implausible to suggest that one of Frank Holliday’s subjects is conflagration — a world consumed by fire.
Lawrence Ferlinghetti marks his 101st year with his first solo exhibition of paintings in New York.
Frank Jones was “double-sighted” — born with a caul over his left eye — which gave him, or so it was believed, the power to communicate with the spirit world.
As a young Asian American painter, Susan Chen knows what she is up against and is consciously pushing back.
Isensee has gone from being a dutiful geometric abstractionist to defining his own trajectory, and gaining a verifiable freedom for himself.
Li had to reinvent herself as a gestural painter in her 30s, after years of painting traditional ink-wash landscapes and Soviet-style propaganda.
“Generosity and openness are important to me, so that the viewer is not intimidated, threatened, or belittled.”
Sanja Latinović’s “Abandoned” pierces our self-protective veil with a glimpse of COVID’s raw truth.
Featuring jarring geometrics, menageries of odd little creatures, and maximalist aesthetics, Judith Schaechter’s light boxes are nearly impossible to look away from.
Western Union: Small Boats provokes our dread and desire.