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.