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We want public art to interrogate social injustices, fill us with love and joy, and brush aside human flaws, but it rarely ever lives up to these expectations.
While his paintings follow the rules of linear perspectives, Niles uses the materiality of the paint itself to pull viewers into the compositions.
The “Loophole of Retreat” symposium at the Venice Biennale demonstrated that the personal is not only political; it’s also where most of humanity lives.
Richard Yarde’s watercolors make a historical document into something personal, wistful, more a vision than a visual fact.
Seph Rodney shares his experience of the most troubling and beautiful aspects of being a full-time critic and writer.
Most everything in this show is unsure, a maybe, might be there, might not be, could fulfill your hopes, might leave them by the side of the road.
Unlike the more celebrated painters around her, she didn’t resolve herself to working the same issues over and over; she kept asking herself other questions, pushing the paint to do what it had not quite done before.
