While painting on canvas often slows life right down, paper works were frequently the stuff of sketchbooks, not necessarily labored over in some studio.
Portraits by Caledonia Curry (aka Swoon) reveal the connectedness of bodies, psychological landscapes, landforms, and built environments.
Josiah McElheny’s latest sculptures reject traditionally idealized forms in favor of the imperfect.
He introduces an exotic fantasy world that reflects his personal experiences and longings as a gay Asian man living in the diverse melting pot of Los Angeles.
A member of the queer collective Grupo Chaclacayo, his transformational performances were a cry for gender equality and political freedom in Peru.
The work on gender and ecology in RE/SISTERS at the Barbican suggests that it is time to re-examine and re-engage with ecofeminism.
Christine Coulson’s sophomore novel One Woman Show explores the formal constraints — and narrative possibilities — of the museum wall label.
The biennale dives into ancient cosmologies, current issues, and futurist dreams through a cinematic lens.
The artist, who passed away this year, finally let go of his desire for control and perfection without surrendering his self-imposed restraints.
Works by Giambattista Tiepolo and his son Domenico offer hints of whatever subterranean Oedipal struggles played out between them.
It’s easy to think of stone as static, immutable, but as Eternal Medium shows, stone is a slice of the earth itself, as alive as the artists who mold and shape it.
Is it not social practice to provide an experience in which a different kind of attention and, above all, a different kind of thinking is demanded?