The works that best exemplify a uniquely German grotesque in Reexamining the Grotesque are those that reflect the war and Weimar years.
Given a platform to say something — about first-world capitalism, its attendant environmental destruction, or the definition of the self through objects — why not use it?
The twilight state between dreaming and waking that permeates a restoration of Maddin’s Tales from the Gimli Hospital echoes that of life and death in his films.
In Benglis’s latest works, the forces of gravity that defined her seminal poured latex and polyurethane pieces are traded for luminous bronzes.
In attempting to convey atrocities that confound language, artist Phyllida Barlow comes up against a paradox with no easy resolution.
Nearly a decade after his death in 2013, Phel Steinmetz’s attention to the effects of capitalism on the environment can be recognized as both political and prescient.
Wrestling is less a physical act than a psychological space in Mark Yang’s paintings.
Steckel compelled audiences to acknowledge uncomfortable realities about systemic sexism that persist decades later.
Pylypchuk’s art has always been deeply engaged with the most painful parts of life, those that human beings tend to push aside or deny in order to get by.
Through her encounters with the spirit Lacamo, Peavy developed a cosmology based on 12,000-year cycles of evolution.
For Mayer, the passage of time is imbued with a sense of melancholy, of something already lost to the past.
Eversley’s parabolic sculptures draw us into a self-aware and ever-shifting encounter with space and perceptual phenomena.