Cox-Richard's critical aim may be lost on the casual viewer who opts to forgo the wordy wall texts and ogle at the novelty of familiar forms saturated with rousing chromatics. For the more…
I was thinking about how opposition and reflection are sometimes one in the same.
The artists' use of recycled and foraged materials suggest that they are less inspired by the beauty of the landscape than they are critical of the systems and stances that regulate it.
The title of Wendy Red Star's midcareer survey, "A Scratch on the Earth," comes from the Apsáalooke (Crow) word annúkaxua, which refers to the "scratches" the United States government made on the…
The story of Constantin Brancusi (1876–1957) and America is long and rich, though to date told only in parts. The artist's innovations are so numerous—and so apparently contradictory—that doubts can…
Since the late 1990s, Anna Sew Hoy has developed a sculptural, largely ceramic language centered on forms suggesting amoebas, heads, planets, caves, and hives. Familiar yet alien, Sew Hoy's…
The Aldrich Contemporary Art Museum's focused, handsomely installed retrospective of Harmony Hammond's work offers something of a corrective to perceptions of her career, which have often been…
If we are to take the goal of foregrounding Indigenous values seriously, then "the map is not the territory" falls short.
At a time when the supposed grown-ups in governments worldwide are fomenting turmoil and bigotry, Anne Imhof's fluid and effortlessly cool world offers an alternative idyll.
Charles Long transformed Tanya Bonakdar's white cube into a surreal, dreamlike space: an incongruous fusion of a cathedral and a haunted forest.
