There’s something radically unassuming about N. Dash’s work. In the fourteen spare, often multipartite paintings in her show at Casey Kaplan, she applied subtle formal techniques to panels composed of stretched canvas topped with gessoed adobe grounds that bear beveled edges.
A photograph of San Francisco–based artist Vincent Fecteau standing on the hood of a car during a 1990 ACT UP action in the city currently wallpapers the street-facing windows of the Wattis Institute.
Rife with tension between humanity and the environment, imposed law and natural order, the twenty-four oil paintings in Amer Kobaslija’s exhibition at Arthur Roger, “Florida Noir,” forecast an ominous future.
In the 1950s and ’60s, when he was already one of the most daring photographers in the United States, Roy DeCarava would complain that his critics expected him to be a documenter of black people in the most ploddingly literal sense.
Dona Nelson’s paintings have an inside and outside. Every dimension of her multidimensional work is made relevant.
War movies perform a clever trick: they create coherent, digestible narratives out of incomprehensible violence. Christian Marclay inverts this cinematic alchemy in his video, which premiered at this year’s Venice Biennale and served as the centerpiece of his Paula Cooper show.
The charged, evocative third edition of the Chicago Architecture Biennial pivots away from the young initiative’s early hallmarks.
“Manfred Mohr, A Formal Language” surveyed the five decades of work this foundational yet under-known computer artist has made since adopting algorithms as tools of artistic creation.
What might Paulina Peavy’s art have looked like if she hadn’t attended a séance led by the spiritualist pastor Ida Ewing in Santa Ana, California, in 1932? A recent divorcée with two children, she had taken classes at the Chouinard Art Institute in Los Angeles and was teaching art in local public schools.
Wael Shawky’s exhibition at Lisson, “The Gulf Project Camp,” was a lavish installation offering a deep dive into Middle Eastern history.
Roberts's work focuses almost exclusively on depictions of black youth: bold, graphic figures composed of gouache bodies pasted with faces and hands cut from photographs found in magazines or online, the unsettling combinations evoking the precariousness of black childhood in the United States.
A casual visitor who just wandered into Richard Van Buren’s exhibition without glancing at the name on the wall could easily have thought it was a two-person show.
The exhibition, “Bicycle Thieves,” which was organized by writer and independent curator Hanlu Zhang, addressed a range of questions surrounding artistic labor, menial labor, and care work; local organizing efforts and large-scale political intervention; and the relationship between labor and technology.
Curators Marti Manen and Anne Klontz have organized the tenth edition of Momentum, a biennial dedicated to contemporary art from the Nordic region, around the theme of emotion, attempting to “redefine the possibility of feeling” in an age rife with its algorithmic manipulation by Silicon Valley.
Among the artists in Germany seeking to reinvent the notion of art following the Second World War, Herbert Zangs (1924–2003) was an isolated figure. Although he reached his mature style in the early 1950s, he shunned the art world for much of his life and rarely showed his work until the 1990s.