By employing a slow, deliberate process in which control is paramount, Remington shaped her passage in time.
By constructing a highly detailed world based on historical events, Jasper de Biejer gives himself permission to ponder the past.
Eight shows over the course of a year loosely explore the eight chapters of Arendt’s 1968 book, Between Past and Future.”
This week, the anthropological use and abuse of human remains, rest and liberation, the cult of Trump, the cicada invasion, the first frozen margarita machine, and more.
Birds and airplanes soar, horses gallop, purples meet yellows, cerulean blues tango with magenta in geometric patterns, foliate designs crash into damask.
Employing drones, Mosse creates psychedelic aerial maps of ecological degradation.
Izumi Suzuki introduced a different vision of femininity, one that departed from the stereotypes so abundant in the work of male writers.
Eversley’s parabolic sculptures draw us into a self-aware and ever-shifting encounter with space and perceptual phenomena.
In her “Mother Paintings,” Bradford’s observations of life in a pandemic have merged with her interior world.
By repeatedly returning to the same motif, Lees attempts the impossible, which is to freeze a particular object, individual, or moment in time.
The four artists in the exhibition “Silent Thunder” display varying degrees of engagement with Buddhism — as a faith, an aesthetic choice, a school of philosophy, or a social phenomenon.
There are many in Kentucky who wish to get beyond the Breonna Taylor tragedy, but Amy Sherald’s magnetic portrait of Taylor insists otherwise.