Art
Miniature mummies carved from wood and carefully wrapped in tiny shrouds overlook a model of a Chimú palace, one of the small-scale representations of a lost precolonial world in Design for Eternity: Architectural Models from the Ancient Americas.
Art
Taking its title from a line in Roland Barthes by Roland Barthes, E.J. McAdams’ site-specific installation, “Trees Are Alphabets,” consists of salvaged sawed-off tree branches, most about seven or eight feet long, sculpturally arranged on the terrace of The Bronx Museum of the Arts.
Art
What do Richard Diebenkorn and John Walker have in common? When they sink their teeth into something, they aren’t likely to let it go.
Art
Even to the trained eye, there is something unrelenting about most seventeenth-century Dutch art.
Art
Three years ago I wrote a review titled “Is Mark Bradford the Best Painter in America?” It wasn’t an altogether serious question, but it wasn’t facetious either.
Art
Poetry readings aren't popular, or easy.
Art
MEXICO CITY — In places like Mexico City, where conceptual art with an overt socio-political agenda currently dominates, media such as sculpture, drawing, and painting go completely unnoticed, seen as vain expressions belonging to an expired avant-garde.
Art
STANFORD, Calif. — A small gallery at Stanford’s Cantor Arts Center is currently offering a deeply personal glimpse into the life and work of Bay Area artist Richard Diebenkorn.
Art
VENICE — “People say I’m extravagant because I want to be surrounded by beauty. But tell me, who wants to be surrounded by garbage?” infamously asked “Iron Butterfly” Imelda Marcos in the eponymous 2003 documentary Imelda.
Film
When I arrived early on opening night of this year’s MIX NYC festival at a former manufacturing space in Sunset Park, Brooklyn, I heard a rumor that there used to be a panty factory there.
Art
CAPE TOWN — In Black Passage, Nitegeka deploys wood and paint to literally and boldly take over the gallery, arranging his forms into the white, tamed, and profoundly coded space.
Art
DALLAS — While heterogeneous in form, cultural reference, and concept, the four exhibitions at the center of the Dallas Contemporary 2015 season openers stand together seamlessly.