Nathaniel Quinn’s first museum solo show features work which suggests that reality might best be recognized by its disjunctions rather than by single-point perspective.
The post Portraits that Feel Like Chance Encounters and Hazy Recollections appeared first on Hyperallergic.
While Michelangelo’s sketches are, like human existence, full of contradictions, Viola’s work relies primarily on empty spectacles.
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The Migrant Quilt project began when Jody Ipsen learned that a record 282 people died when trying to cross the border in the Tucson Sector between 2004 and 2005.
The post Stitching an Image of the Human Cost of Crossing the US Border appeared first on Hyperallergic.
A newly installed artwork at the 163rd Street MTA station vividly depicts flora from the Northeast and the Caribbean.
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Strangely, of the three works visitors are most likely to bump into first after entering the National Gallery Singapore to view its show on Minimalism, none of them feel explicitly Minimalist.
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Between 1994 and 2011, Goodman painted a series of self-portraits that constitute one of the most powerful and disturbing achievements of portraiture in modern art.
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This is what very good artists are supposed to do: use the past to bring about the present — in David Rabinowitch’s case, a visionary one.
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Noh Sangho asks if the terms of eye-catching, short-lived virality were not so different in the 16th century as they are now.
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The painter’s introspective subjects can make the viewer feel uncomfortably voyeuristic.
The post Lynette Yiadom-Boakye Explores Psychological Depths appeared first on Hyperallergic.
Osman’s suite of new sculptures might look like buildings, or the things within buildings: furniture, toyish tools, and strange-ified objects of interior design.
The post Jim Osman’s Off-Kilter Arcadia appeared first on Hyperallergic.