Jacolby Satterwhite’s exhibition at Gavin Brown’s enterprise transformed the gallery into a kind of nightclub—that ultimate escapist’s paradise.
Much of the work of Danish sound artist Jacob Kirkegaard, whose projects incorporate video and photography, homes in on particular places or environments.
Photography has a long history in the Indian subcontinent.
Matthew Wong can be considered a kind of nouveau Nabi, a descendant of Post-Impressionist painters like Édouard Vuillard and Paul Sérusier. .
G.T. Pellizzi cofounded the Bruce High Quality Foundation, a collective known for historically astute, if prankish, art world antics.
Justine Hill exhibits an easy-seeming confidence, both in her exuberant facture and in her engagement with art history
Critics routinely describe Em Rooney’s work as “vernacular.” Vernacular it is, but sometimes to a fault.
Some might call Bergman’s portraits monstrous. “Sometimes they are quite shocking to even me,” she admitted to an interviewer in 2014.
Amir Nikravan’s sculptures seem like high-end products whose polish overpowers any subversive intent.
Chinese artists today are suspended in midair between two cultures, one global, the other adamantly national.
Marcus Coates's costumes and behaviors are less about truly emulating or understanding animals than about channeling human desires.
In building his instruments, Guillermo Galindo ignores the borders set by musical convention.
Cosima von Bonin is as much a gleeful maverick as a studious follower-through of art-historical lineages.
Robert Ryman’s exhibitions are always compelling, frequently impressive, but rarely surprising.
Xu Zhen is known for ambiguous and occasionally controversial projects and gestures that may appear, depending on the viewer’s vantage point, playful or profound—or both.