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Death becomes her, there really is no better way to describe Andra Ursuta’s first solo show in the US. Ursuta’s work has been dark, conceptual, sexually-charged and fueled by a death obsession; now fear is the impetus for creating a fictional graveyard in the Hammer...
While painters are often primarily concerned with light effects and the visual, Berkeley-based Judith Belzer’s work also resonates with a haptic sense. Her imagery is felt in the body, in the hands and feet. Recently awarded a Guggenheim Fellowship, Belzer explores...
“Rainbow Girls” at Cheim & Read continues Ghada Amer’s inventive strategy of using thread as paint, and needle as paintbrush, but with a marked difference. Bold embroidered stenciled text covers her canvas. Women’s rights and Amer’s stance are as forthright as her...
The overt theme of “Damage Control: Art and Destruction since 1950,” curated by Terry Brougher and Russell Ferguson, is the presence of destructive force(s) in art since World War II—a trajectory of investigation whose origins in the war (especially its nuclear finale...
John MillsJohn Mills’ recent exhibition at Rosamund Felsen Gallery is compositionally complex and visually challenging. As the title suggests, High On Signs represents the artist’s love affair with line and shape and more importantly perhaps, the iconographic...