Winters’s art is about decisions, choices, quality of attention, the shaping of one’s existence in time.
You could say that Nina Hamnett fell victim to her own reckless self-mythologizing.
With subjects and materials such as diner menus and discarded cardboard, Goodwin resists a view of history as progress in search of ultimate truths.
From her earliest works, Ali has confronted colonial histories, challenged racial and gendered biases, and put pressure on borders both physical and conceptual.
Voisine’s paintings ask us to consider what we pay attention to and why.
Mehretu’s remarkable mid-career survey blazes through the Whitney Museum of Art, illuminating over two decades of her extensive practice.
Sanchez’s most arresting paintings allow the viewer to get lost in a vast expanse of skin.
Each canvas follows its own off-beat rhythm.
We know precious little about the painter’s life, and we know even less about his work’s meaning. A new book argues that the artist wanted it that way.
Banhart’s first solo show in Los Angeles is at turns intimate and grandiose.
Carter’s paintings gesture toward unknown realms, whether death or nonhuman consciousness.
Pusey’s cursive marks sit in that zone where writing becomes drawing and vice versa.