Lewis’s tattered canvases and pasted over drawings mirror a world in need of constant upkeep and repair.
Prehistoric Planet is visually ambitious, but the docuseries often fails to contextualize those visuals for the curious viewer.
Artist Dan Jian makes the point that landscapes and memory are one and the same.
Every corner and crevice of Columbia University’s MFA Thesis show feels lived in, reflecting not just artists’ experience quarantining with their work, but also that of re-entering society.
Sprawling across the Joshua Tree region, nine site-specific works consider the ways in which people have relocated to the desert, destroying what came before them, and cultivating new life.
The plot of Maureen Fazendeiro and Miguel Gomes’s film moves backward in time, continually recontextualizing what at first looks like a simple situation.
Anthony Banua-Simon’s documentary Cane Fire contrasts decades of Hollywood images of his home with its current reality.
Michelle Segre’s art is truer to the actual world we live in than to the ideal one proposed and refined by the art world and its institutions.
In the artist’s new exhibition, Black moves away from her signature representation of commercial goods to celebrating the labors behind everyday life.
Ikon Gallery’s retrospective asserts that Carlo Crivelli’s self-reflexiveness and questioning the nature of the image made him anticipate the “contemporary.”
Sandra Monterroso confronts the knots that tie together the inequalities, violence, discrimination, racism, and patriarchy in Guatemala.
For all its quirks, Sprout Hinge Nap Wobble’s immersive elements never feel gimmicky.