Robust, voluptuous, and sexually frank, the works in Tête-à-Tête showcase Caland’s outré sense of humor and vivacity.
In Hammons’s body prints, the veteran artist melds method, intention, and significance.
On February 20, coinciding with the opening of its Curtis Talwst Santiago and Guo Fengyi exhibitions, guests can visit the center free of charge.
While The Pencil Is a Key spans continents, training levels, and types of imprisonment, today’s constant headlines about mass incarceration and border detentions lend it a special timeliness.
The exhibition owes its title to a famous essay by philosopher Édouard Glissant, and it asks some big questions about how artists convey the substance of their art.
As part of the Drawing Center’s The Artist’s Eye series, Essenhigh, along with artist and critic Matthew Weinstein, will take visitors through Reeves’s exhibition next Tuesday.
We watch Ellen Berkenblit drawing. She is left-handed and uses charcoal. She rubs lines out and never looks at the camera.
In his best drawings, everything is keyed to the way that Winters attains difference while doing the same thing over and over.
For those who can’t draw to save their lives, have no fear — more than a dozen artists will be on hand to help.
The sensual surfaces of Susan York’s graphite sculptures bring together sight and touch without favoring either.
There may be no artist in America better equipped to express the perversity of the Trump administration than Bernstein.
An exhibition at The Drawing Center explores the controversial history of a group of researchers that recorded the nature around them.