In his paintings of ground cover and gravel, Weidle touches on the despair that has replaced optimism in the United States, the sense that the future is bleak.
Masterworks of American Landscape Painting at the Center for Figurative Painting makes clear that the term “landscape” has been widely interpreted.
In an age dominated by narcissism and material excess, Acheson’s anti-heroic position as an admirer of other artists should be something that we reflect upon.
More than 100 modest and intimately scaled artworks in Still Life and the Poetry of Place provide glimpses into interiors, both humble and opulent.
Whatever else Mire Lee’s Carriers is about, it seems to me that has to do with sending you back into yourself, which is not necessarily a soothing place.
I was curious to see Casteel’s first exhibition since her New Museum show. I was not disappointed.
Finding her subject matter in ordinary, everyday encounters, Levinthal hints at a subject’s interiority and to the way strangers are separated from each other.
Korea’s Dansaekhwa artists eschewed the idea of art-about-art and commodity culture in favor of an abstract art imbued with traces of the struggle for liberation and cultural identity.
In her art, Park is in touch with our collective anxieties about a future that seems to darken with each passing day.
Guston became a witness to the 20th century’s darkest and foulest experiences without closing his eyes or turning away, and enabled us to see and reflect upon this brutality.
The gap between the material body and the psychological one, which we all too often take for granted, is one of the underlying themes of Hiro’s exhibition.
It is time that the art world recognize what Bluhm went on to do during the last three decades of his life, when he was deep into his own territory.