An artist plumbs the depths of womanhood and all the painstaking, glittering, and strange truths therein.
The painter talks about her data-dense paintings that mingle abstract gestures with a thicket of numbers and text.
One of the seminal figures during the mid 1960s in what became known as Arte Povera, Pier Paolo Calzolari has lived the life of a near-recluse.
One man's method of destroying history in order to rewrite it.
The labor intensive exercise of crafting a monopoly-sized model town is, for this artist, only the beginning of her process.
Never wanting to be pigeonholed at the "poster child for queer art," Catherine Opie talks about her main concern: describing the complexity of individual and communal identities.
The artist rebuilds her temple of books for Documenta 14, outside Kassel’s Fridericianum.
An Australian duo make performances out of their own relationship.
Teresita Fernandez wants YOU in her work.
Two giant buttons dominate the compact Brooklyn gallery Soloway in “Passing Buttons.”
It may be an accident of limited space, but the viewing scenario of Ellen Cantor's multi-channel video at Foxy Production is oddly productive.
One of a few songs included in the exhibition, Billie Holliday's "Strange Fruit" is a perfect example of the theme that unites the photographs, films, prints, banners, street actions, music, digital files, and Web platforms on display: work that is not just political, but that acts as a means of disseminating information to influence social consciousness.
For Marisa Merz, the 91-year-old Turin-based artist, there is no separation—nor has there ever been—between art and life.
In our age of shrinking attention spans, it seems audiences are ever more enthusiastic for immersive, participatory art-viewing experiences—and willing to wait in snaking museum lines for the chance to take part.
For the first time a suitably nebulous curatorial theme, movement and the body, unites the work of the Asia Pacific Triennial.
The oil paintings created by Hearman—the subject of this 25-year career survey—are most often described as haunting. But that word is a little too simple to describe the imagery of this Melbourne–based artist.
The works in “Dicey Fabulous Carnival” will probably lose their aroma over time, but two weeks following the opening Spota C.'s exhibition, the gallery still bears the pungent smell of her generously applied oils.
At Anne Teresa de Keersmaeker’s recent dance performance-cum-art exhibition, normal gallery-going rules are in flux.
This eloquent portrait of one imperfect individual reminds viewers that ultimately we all carry a fatal flaw.
Caroline Wells chandler has a room in his Long Island City apartment dedicated to yarn.
Mandiberg repurposes investment guidebooks, printing the logo of a U.S. bank that has officially “failed” and been taken over by the Federal Deposit Insurance Corporation on their covers.
Josiah McElhEny wants to give undersung Swedish artist Hilma af Klint the recognition she deserves.
While Julien Prévieux's job application to be a bus-driver might lead you to assume he’s lazy, much of his works is almost absurdly labor-intensive.
Artist Wong Kit Yi and curator Ali Wong
are constant collaborators, whether on the exhibitions that feature the former’s work or the digital presences they share. They also happen to cohabit in the same physical body.