Doron Langberg invigorates the centuries-old traditions of genre painting and portraiture with high-key images whose surfaces combine myriad, at times discordant, textures.
There’s a Lynchian quality to the editing of Noor Afshan Mirza and Brad Butler’s film installation The Scar (2018).
Having been fortunate enough to attend several Jayne County performances during her heyday, I can attest that her art bears a similar kind of strident energy, acerbic wit, and political edginess.
Meleko Mokgosi portrays scenes of daily life in southern Africa, often combining his images to create dramatic multi-panel filmstrip-like sequences.
With “PowerPlay,” Chicago envisioned a transparent world in which the vices of men could be laid bare.
Abraham Cruzvillegas’s sculptures and installations often hew to a principle he calls “autoconstrucción,” which centers on making work collaboratively in an ad hoc fashion with materials at hand.
The cinema for Godard is not limited to the material of celluloid, but rather is inherent to the camera.
Cyprien Gaillard makes spectacular films, sculptures, and installations that dramatize the unsavory, distinctly unglamorous side of societal progress while also making it beautiful.
Through his “naive” eyes, Qiu allows us to glimpse a more organic version of technology, and perhaps to begin to discover a path out of technology’s totalizing reach.
Brown argues that his paintings update art historical works for a contemporary audience, but they can feel like “edgy” Pop-inspired kitsch that street vendors might hawk to tourists outside famous museums.
Artists in “Songs for Sabotage” offer evocative and challenging works that dwell on the ambiguity and alienation of the present, and on the colonial violence on which the present is founded.
How, the artists seemed to ask throughout the show, do circuits of international trade shape materials, practices, and people?
A life hack is a way of outwitting the system, a gratifying shortcut that saves thirty minutes in an overloaded afternoon, or gives a DIY method for storing shoes.
Adkins often abstractly referred to historical and cultural figures from the African diaspora in his work.
Monuments, in their scale, installation, and materials, generally prescribe our body’s encounter with them.