Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Crys Yin’s subject is grief, which, for all that takes place in public, is largely a private matter.
In Doomscrolling, Rob Swainston and Zorawar Sidhu assume the task Walter Benjamin set for the articulation of history — to “seize hold of the past as it flashes up at a moment of danger.”
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The 18-month fellowship aims to provide artists with “as much access as possible” to the club’s facilities and networks “at a time and place convenient to artists.”
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
It is precisely Moon’s openness to using any source that makes her work flamboyant, captivating, odd, funny, smart, uncanny, comically monstrous, and unsettling. And, most of all, over the top.
For years, Fueki has been quietly creating a singular body of mind-bending work that has never fit into the New York art world.
Curated by Eric Brown, this exhibition at the Milton Resnick and Pat Passlof Foundation in New York is on view through February 26.
The union would include art handlers, curators, development staff, educators, visitor experience and retail employees, and other administrative staff.
The residency program awards 17 visual artists a year of rent-free studio space in New York City. Applications are due by February 15.
In Colette Lumière’s world, the theatricality of Versailles meets the punk ethos of the Sex Pistols.