Wrestling is less a physical act than a psychological space in Mark Yang’s paintings.
Unless you were already familiar with Bey’s documentary work, the horror he refers to might not be recognizable to you.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
In a world delighted and entertained by displays of material excess, Diane Simpson shows that there is another possibility.
The animal carcass sculptures are gruesome yet their materials — the artist’s own discarded clothing — lend them some gentleness.
The biggest problem with turning Dune into a film is that the book appears increasingly derivative of generic sci-fi tropes.
Ed Roberson’s motorcycle ride from Pittsburgh to the Pacific is a quest-romance, an exploration of American culture and American mythology.
Poussin and the Dance is a valiant attempt to break into Poussin’s staunchly academic oeuvre and provide a relatable point of entry, highlighting the exciting elements of revelry and movement despite impenetrable and unemotional rendering.
With scavenged materials, Amanda Maciel Antunes constructs a motherland.
Council often uses humor as a political tool to expose systems of power and inequality in a society in which even death carries a high price tag.
Many works take disruption and repetition as their themes, and many artists resurface in different sections, creating multiple affinities.
While staying as a house guest, a naked Le Corbusier defiled Gray’s minimalist, color-blocked walls that were only restored in 2015.