Art Review
Todd Gray Reframes Black Diasporic History
His installations of layered photos drawn from an expansive Black heritage entice viewers to keep looking, find connections, and ask questions.
Art Review
His installations of layered photos drawn from an expansive Black heritage entice viewers to keep looking, find connections, and ask questions.
Art Review
Across luminous, fragmented paintings in SAFE SPACE, the Korean diasporic artist invites us into an ongoing search for respite amid the dislocation of hybrid identity.
Art
Pacific Abstractions at Perrotin draws attention to Asian abstract artists and traces their legacy through contemporary diasporic artists on the West Coast.
Art
Combining the provocative spirit of internet trolling, clickbait scamming, and MTV’s Punk’d, the collective satirizes consumerism while making bank.
Art
Recurring throughout Banerjee’s work and in her latest exhibition are the threads of power, cultural reproduction, and imperial afterlives.
Art
Latin’s colorful artworks touch on aspects of queer and Black experience, not in broad strokes, but in exceedingly specific ones.
Art
Izumi Kato’s exhibition at Perrotin dispatches us to long-forgotten realms of childhood, when the world was full of benign, sinister, weird, and mysterious beings.
Art
There is a coolness to the way Park paints her figures, as well as a sculptural attention paid to form and surfaces.
Art
The art world conditions its workers to accept subpar safety standards and low salaries in the name of high culture. And because art handlers frequently hop from institution to institution for jobs, issues are typically handed off to the next wave of workers.
Art
For his elegant new film, Laurent Grasso was allowed to film in the Salon Doré, the golden-hued office of the President of France.
Art
The term Dansaekhwa, or “monochrome painting,” may elude readers unfamiliar with Korean, but it represents arguably Korea’s most important art movement of the late 20th century
Art
For many, Pierre Soulages was regarded as the Parisian counterpart to the abstract expressionists in New York. The only problem was that the French audience, in general, appeared less interested in his work than the Americans.