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.”
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.