Speculations about climate change by an array of artists feel eerily probable, if not already real.
Thalia Field’s poems collage scientific, historical, and philosophical sources to explore speciesism.
Joshua Marsh has fashioned a world where a sweet, wise humor in the face of mortality and inescapable change prevails.
This week, how queer sex lives have been reconfigured by the pandemic, dommes are convincing their subs to get vaccinated, carbon offsets are catching fire, and more.
Pylypchuk’s art has always been deeply engaged with the most painful parts of life, those that human beings tend to push aside or deny in order to get by.
Yuri Yuan’s sense of isolation is an inescapable feature of her daily life, which she simultaneously examines and holds at bay through the act of painting.
A persistent feature of Paul Graham’s photographs in Beyond Caring is the way they describe the act of waiting as a common, and alienating, condition of Britain’s welfare system.
Not all of the scenes Dianna Settles paints are pleasant, but that seems to be the point: for better or worse, we are undeniably yoked in our collective experience of being human.
Taylor’s paintings emphasize that golf and horse racing, though once exclusively activities for privileged white men, depended on the support of men who were almost invariably Black.
Beauty remains an uncomfortable territory for many contemporary artists, which makes the boldness of Sarah Ann Weber’s aesthetics all the more compelling.
This week, Lucia Hierro’s oversized sculptures of shopping bags, the billionaire obsession with outer space, shutting out comic book artists, Ishmael Reed, bad book tropes, and more.
Alice Neel: People Come First yielded a work I had never seen and that I will never unsee.