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“We are children of our landscape [which] dictates behavior and even thought,” writes Lawrence Durrell. It goes without saying, therefore, that a baneful “landscape”—defined in the broadest terms—has devastating effects on the inhabitants. At the Huntsville Museum of...
The first and most physically imposing work in Thomas Houseago’s exhibition, “The Ridge,” on view at Gagosian Gallery, is Open Wall (Beautiful Wall) (2016). According to his Instagram, Houseago built this wall in response to the election of Donald Trump. This alone is...
Laura Forman’s debut solo show at Sloan Projects—a rather small collection of six new artworks that differ clearly from each other—induces curiosity and offers a wide range of possible interpretations. Created in 2016, her oeuvre (all works untitled) reflects the vibe...
Egan Frantz’s show, “The Oat Paintings,” provides a possible opening into a discussion of the nature of political art: how we distinguish it from among the myriad latent political aspects of most other art; how we recognize and define its characteristics; how it...
For Rachel Lachowicz, lipstick—the actual infused-wax substance—has long functioned not simply as a gimmick, or brand, or even social signifier, but as a kind of idée fixe, a material so embedded in our culture, and so closely associated with femininity, that it...