Precisely rendered still-lifes speak to an older tradition of painting with few hints of the modern world.
A smartly-hung show of medieval paintings in Chicago is something to celebrate.
Defying the bifurcation that often occurs at the intersection of conceptualism and formalism, Hsaio’s work is as much about processes as formal aesthetics.
Decades before the screenshot, Howardena Pindell pioneered the relationship between found images and manipulated surfaces with chance drawings on her television screen.
In the era of Fake News, is it any longer critical for art to imitate life while neglecting its beauty?
The show represents a welcome opportunity to examine some of the museum’s holdings that are rarely displayed, including sumptuously illustrated papyrus sheets and playfully decorated tomb bricks.
Holmquist returns to Chicago with paintings, prints and ceramics that don’t just challenge identity, they celebrate its fluidity.
March brings paintings that are not quite, and drawings that aren’t themselves either.
Abney’s paintings contain all of the dramatic grandeur and import of the figurative works which are fêted dutifully in the past centuries of Paris and London, but depict the trappings of our present.
Rothenberg’s room-sized installation collages images of haunting objects from the Spertus Institute’s archives of Judaica and the Holocaust with photographs of migrant camps in present-day Germany.