Ulala Imai does more than project human feelings onto toys; she proposes that they represent us, and that we share some of their qualities.
Ungaretti should be numbered among the ranks of such Great War poets as Wilfred Owen, Siegfried Sassoon, and Isaac Rosenberg.
This week, Hong Kong’s culture scene is facing major challenges, an NFT “house” sells big, Ishmael Reed on Alice Walker, Woody Allen’s manipulation, and more.
Izumi Kato’s exhibition at Perrotin dispatches us to long-forgotten realms of childhood, when the world was full of benign, sinister, weird, and mysterious beings.
No matter how optical a color may become, our experience of it is — to state the obvious — visceral.
Jane Irish’s work offers an archive of painterly traditions juxtaposed with horrific acts of violence driven by the moneyed class.
Flipping through Seth Siegelaub’s collection of writings and interviews is a bit like diving into an archive without a finding aid, as exhilarating as it is overwhelming.
The linguistic imagination of William Fuller’s new collection, Daybreak, takes the form of sustained odysseys between philosophical abstraction and the everyday concrete.
The graphite floor map can be understood as a post-apocalyptic landscape, a commentary on artistic labor, or a parable about COVID-era confinement.
This week, the most Googled artists around the world, the Pentagon’s role in Marvel movies, and more.
Aitken’s exhibition “Flags and Debris” is informed by a dialectic of embodiment and absence.
The dizzying effect of Nelson’s two-sided paintings brings to mind the sensory overload of living in a city.