Stella and Nick's desire to see themselves as exceptions to the rules is paired with a sense that they are powerless to change thoseStella and Nick's desire to see themselves as exceptions to the rules is paired with a sense that they are powerless...
The show derives its energy from the wide variety of ways in which the works form (or refuse to form) their own links—internally, with each other, and with viewers. In some cases, following these threads can lead you to the works’ political...
Both artists lived and worked downtown in a fertile time but steered clear of art-world trends, carving out their own distinctive paths in the fringes.
You look at a curb, a bag, a bed, a plate and cutlery, and, in time, they become what they've always been, or what they always might have been if anyone had looked before: a horizon, a vanishing point, a frame.
Certainly the openness of potential interpretation is one of art’s great pleasures and social functions, but I confess to a degree of weariness around the act of raising questions without offering answers.
In curating "Our Side," Wendy Red Star asked four Indigenous women artists to share stories about themselves and their people.
Using his signature Haida manga style, a fusion of Indigenous visual traditions from the Pacific Northwest and the graphic format of Japanese comics, Yahgulanaas translates oral history into a fluid, nonlinear reading experience.
Barrada speaks in a rapid series of digressions, dropping anecdotes and quotations, many of them from semi-obscure artists from the twentieth century.
Rigo 23’s work about activist communities is produced through collaborative processes inspired by the communities themselves.
St. Louis now offers a model for the critical reinvention of the art world as a whole.
Apfelbaum proposed a new kind of gathering, echoing the one documented in the book but with a stronger, more knowing, and more playful feminist agenda.
Memory serves as an important contribution to the history of photo-conceptual practices and process-based writing from the early '70s.
Corse's protean paintings are acutely involved with matters of perception. They are also enthralling, inducing rapt absorption and, at times, outright wonderment.
How does one simultaneously confront these oppressive forces without allowing the nefarious visual order of surveillance to dictate the ways in which those most oppressed by it are seen?
Since the 1990s, Andrea Zittel has endeavored to better comprehend and process the human experience by imposing structure and order on her daily life and lived environment.
Harrell not only calls into question the barrier between dancer and spectator. He also complicates the "nowness" associated with live dance, or the focus on the present tense of the gestures and movements being carried out before an audience.
"Lucid Dreams and Distant Visions: South Asian Art in the Diaspora" was the first exhibition since the Queens Museum's "Edge of Desire: Indian Artists in the American Diaspora" (2007) to explore works by United States-based artists of South Asian...
Trevor Paglen's efforts to document the institutions and apparatuses of our surveillance society have taken him from the deserts of Nevada to the bottom of the ocean.