More than 100 modest and intimately scaled artworks in Still Life and the Poetry of Place provide glimpses into interiors, both humble and opulent.
In her art, Goodman seems to both revisit trauma and heal it. The results are moving and painful.
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.
Yuen’s ambiguous works resist a simple or anecdotal reading while speaking to our apprehensions and paranoia.
Li had to reinvent herself as a gestural painter in her 30s, after years of painting traditional ink-wash landscapes and Soviet-style propaganda.
In his new work, Amenoff transforms his imagery while retaining his powerhouse color.