In the quiet pairing of photography and textiles, Greene tells a story filled with leitmotifs of autonomy, subjectivity and advocacy for human rights set against themes of power, conflict and politics.
Mark Jeffery insists that his entire life has been an accident. If this is the case, then it is an accident from which Chicago and its performing community has profited greatly.
Like Witkin’s work itself, Edelman’s show doesn’t set out merely to shock. Rather, it aims to enlarge our view of the physical world in all its dark beauty.
“Show Me Yours” will leave you wanting to revisit how you interact, understand and function with nudity and the social stigmas accompanying it.
Six local painters were asked to fill a room in the Elmhurst Art Museum with whatever art they wanted—the only requirement being that they include at least one of their own works.
Both Adams and Conlon demonstrate the value of a reductive form, inviting the viewer to unfurl an open-ended dialogue and discover its many possibilities.
Despite his attention to the laboring poor, Caillebotte intended no radical critique of the social order.
There’s a cheerful, can-do spirit about all this production that seems to supersede any aesthetic, narrative or art ideology.
“Every house has a door” does not inhabit a world where these are answerable questions. Instead, they keep these questions alive, reorienting them within each performance.
This exhibition is a landmark attempt to show the sophistication of medieval African art and to place the cultures of Saharan Africa in dialogue with medieval Europe.