Seeing the works by the University of California, Irvine’s MFA students, many of which use leftover material site-specific to the campus, lead me to wonder if they also constitute a kind of leftover material of time.
By the time of his death in 1992, at age 49, Luigi Ghirri had taken some 2,000 pictures in Puglia, most of which have never been seen publicly.
I wanted to keep on traveling, stay on the train, remain in this space of being in between.
It is as if, after two years of staring at works on screen, galleries knew that audiences were hungry for artwork so physical, you could devour them with your eyes.
This year’s theme, Hearsay/Heresy, allowed curators and artists to play with dissent, nonconformity, and truth versus fact.
“Embroidery feels like a language that my hands speak,” says Jahnavee Baruah.
Self-taught artists were invited to exhibit, and sell, their fuzzy stacks of pancakes and tasseled tapestries.
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
From COVID-19 vaccine piñatas to cheeky Rothko interpretations.
In 1999, photographer Naomi Harris followed a group of resilient seniors who, despite physical limitations and difficult pasts, were independent, sociable, and fun.
The project required 269,000 square feet of silvery-blue polypropylene fabric, 32,300 square feet of red rope, and the combined efforts of 1,200 workers.
For a fleeting few hours, a procession of boats on the Grand Canal reenacted the full pomp and pageantry of 15th-century Venice.