One hundred years after Mary Hiester Reid’s death, Flower Diary recovers the elusive, overlooked artist’s life and work
Simphiwe Ndzube masterly weaves Bosch’s iconography into his macabre landscapes that reflect water scarcity.
Around Asheville, people have volunteered their front yards to showcase Suzanne Schireson’s portraits.
In Nara’s paintings, children stand in as angry innocents raging against an oppressive world of adults.
The Highwaymen’s paintings are an environmental time capsule for a state highly threatened by the climate crisis.
Packer processes the horror of 2020 into elegiac mood studies that wrestle with exhaustion, fear, and longing.
Joshua Marsh has fashioned a world where a sweet, wise humor in the face of mortality and inescapable change prevails.
In Quarles’s paintings, boundaries dissolve as the artist grinds up the fixed binaries of Black/white or male/female.
Yuri Yuan’s sense of isolation is an inescapable feature of her daily life, which she simultaneously examines and holds at bay through the act of painting.
Not all of the scenes Dianna Settles paints are pleasant, but that seems to be the point: for better or worse, we are undeniably yoked in our collective experience of being human.
Taylor’s paintings emphasize that golf and horse racing, though once exclusively activities for privileged white men, depended on the support of men who were almost invariably Black.
From depictions of his mother to his closest friends, Niles’s canvases illustrate a willful vulnerability to ruminate on the profound relationships in his life.