Her works, depicting objects from Korean markets, invite viewers to marvel at what can be achieved with fabric.
Salonen’s paintings point to a location in which reality is slippery, ill-defined — a dream or place of play.
Kadish’s fossil-like heads, forms, and figures remind us that every civilization, including our own, eventually collapses.
Baz Luhrmann’s film Elvis and Danny Boyle’s miniseries Pistol are both overly fixated on the influence their respective musicians’ managers had on them.
The 15th edition of the international art exhibition is a gathering of potentialities, a careful alignment of militant particles, and an assembly of thousands of diverse voices.
Ignored and undistributed upon its debut in 1982, in the decades since, the film Losing Ground has slowly gained the recognition it deserves.
Queer Spaces: An Atlas of LGBTQ+ Places and Stories records how generations of queer communities have persisted and created familial oases around the world.
The Project of Independence at MoMA probes the limits of modernist construction in South Asia.
Stuffed with references to historical and contemporary film, Olivier Assayas’s miniseries version of his own 1996 film Irma Vep is sometimes too clever for its own good.
It’s not a “greatest hits” show, or a comprehensive survey; rather, it is a starting point to reconsider an expansive vision of Chicana/o art.
Hall makes no attempt to entice the viewer to begin looking and to look again, letting her methodical craft compel viewers to reflect upon their experience.
In Benglis’s latest works, the forces of gravity that defined her seminal poured latex and polyurethane pieces are traded for luminous bronzes.