William S. Smith

Some artists don’t wait for institutions to interpret and label their work... Read more

The social gains of the postwar period were not bestowed by especially generous plutocrats. People fought for the city they wanted. .. Read more

It would seem that no object could be more at home in the center of the art world, more secure in its identity as art, than a painting. Yet stories in this issue by Kirsty Bell and Stephen Westfall highlight painters whose work remains productively out of step. .. Read more

At the core of her project is a concern with how ideas are transmitted from the past to the present, from the dead to the living... Read more

"Build bridges, not walls." That was the mantra heard often at opening week events for Pacific Standard Time: LA/LA.  .. Read more

Veteran artist Hock E Aye Vi Edgar Heap of Birds relates his efforts to commemorate Indigenous history while also critiquing non-Native arrogance in acerbic visual and textual works... Read more

Concentrating on highly tended spaces, New York–based Daniel Heidkamp infuses landscape painting with irony and formal stylization... Read more

Brashness and self-deprecation combine in the architecturally strategic, multi-medium installations of this former dancer, a youthful émigré from Georgia... Read more

The Brooklyn-based artist's ceramic vessels and figures convey both decorative arts nostalgia and existential angst... Read more

Biennial themes are often underdeveloped, amounting to little more than mood-setting phrases that give a poetic gloss to eclectic displays of artwork... Read more

The huge digital billboards wrapping the architecture of Times Square form what marketing experts call a "brandscape.".. Read more

Only a handful of movie theaters around the country are equipped to screen Billy Lynn’s Long Halftime Walkas acclaimed director Ang Lee intended it to be seen. Centering on an Iraq War hero’s ambivalence about participating in a souped-up patriotic rally at a Dallas Cowboys game, Lee’s sardonic allegory of twenty-first century America is meant to be, as the press material states, an “immersive” experience. .. Read more

It is easy for the visitor to Kai Althoff’s retrospective at the Museum of Modern Art,  “and then leave me to the common swifts,” to grow irritated: the long wait for entry into the overcrowded galleries, the admonishment from the well-meaning museum employees about the absolute prohibition of photography, the barely legible checklist available at the entrance, and then, finally, the show. A jumble... Read more

Scrutinizing rural hermits, outcasts and commune dwellers in various countries, British filmmaker Ben Rivers seeks a link between individuality and the land... Read more