It is perhaps no surprise that Wiley’s oeuvre is a favorite among curators seeking to inject new relevance into their collection of European masters.
rafa esparaza’s paintings insist upon the rightful presence of brown, Black, and queer bodies in the white cube of the gallery.
“The Black Index” at UC Irvine pursues knottier narratives of self-representation.
Hyperallergic has a few suggestions.
Prachakul paints friends and acquaintances who, like the artist, are part of the Asian diaspora.
With the possible exception of Howard Hodgkin, not a single English abstract artist has attained anything comparable to the status achieved by Lucien Freud or David Hockney.
Many scientific studies assume that the features of painted faces are the facts of the flesh-and-blood countenances to which they refer. This assumption is not only false; it is preposterous.
By negating the figure, Amir H. Fallah expands the limits of portraiture to make space for multiple interpretations.
The free-to-attend Black Portraiture[s] conference will focus on the creation of visual archives in the context of landmark moments in Black history.
Nathaniel Quinn’s first museum solo show features work which suggests that reality might best be recognized by its disjunctions rather than by single-point perspective.
If measured as a flame to kindling, John D. Graham was arguably the most consequential figure in 20th-century American art.
Van Dyck: The Anatomy of Portraiture, currently at the Frick Collection, provides a window onto how the premier Baroque portrait style came together in the busy studio of a gifted, if short-lived, painter.