The aggressive kineticism of Futurism in Chase-Riboud’s sculpture is tempered by a keen appreciation of the erotic and lyrical.
Assembly Required suggests it is high time to strap on a colorful mask and play with someone you don’t know — or don’t know well enough.
Wilke’s joyful effusions were a reminder of the limitlessness of the body’s creative potential.
Reverberating through the Pulitzer’s iconic building, Adkins’s works carry the potential of sound, and remain alluring even in silence.
The power relations presented in an exhibition at the Pulitzer Arts Foundation are selective. We get a discussion of ancient power — but what about the modern power to acquire these objects regardless of legal or ethical concerns?
While artist’s career has consistently invited interpretation based in institutional critique and real-world tumult, it is equally constructive to consider her work from a psychological, rather than political, vantage.
In a new exhibition, Glenn Ligon explores the idea of “blue black” as it manifests not only in black identity but also in American culture.
Pulitzer Arts Foundation in St. Louis recently opened Kota: Digital Excavations in African Art, an exhibition exploring the ways that technology can be used to foster a deeper understanding and engagement with art.
Kota: Digital Excavations in African Art is the first exhibition to focus on Kota reliquaries in-depth, and involves a digital experience where visitors discover forgotten patterns and connections in the faded art.
On May 1, Pulitzer Arts Foundation celebrates the opening of its newly constructed galleries with solo exhibitions of Alexander Calder, Richard Tuttle, and Fred Sandback, and the debut of the program series Press Play.
Pulitzer Arts Foundation, located in St. Louis, will reopen on May 1 following a major renovation that has transformed the lower level of its Tadao Ando-designed building and nearly doubled its public space.