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In discussing his work, App likes to allude to his lifelong attempt to find what he calls authentic ways of making a painting.
“Everything in this house represents the person, so every piece of art is an intimate connection to that artist,” Fostel says. “Having their work on our walls constantly keeps them in mind.”
Both women are primarily known for their work in sculpture, and that tactile sensibility easily translates to these textured two-dimensional pieces.
A conversation with conceptual artist and photographer Larry Cook and gallery owner/director Myrtis Bedolla
Hobbs is the rare sort of person who sets intentions and actually accomplishes them, who revels in being busy and can forgive herself when she falls short of her own extremely high standards.
Through a rich accumulation of visual, textual, and symbolic content, Milad invites us to struggle with the act of making meaning as well as our desire to know, understand, translate, and thus take ownership of her pieces.
This exhibition proves that gender is not a universally held construct.
"I feel like I spend a lot of time observing non-traditional artistic objects, and I consider them art."
As his family’s own historian, Reyes seems invested in keeping and sharing their stories with great care in a multifaceted way.
Gibbs' obsession with the topic of painting sits so close to the surface, he is absolutely gleeful to get into it.
For almost fifty years, the scholarship and curatorial endeavors of Leslie King Hammond and Lowery Stokes Sims have built a legacy of excellence and diversity at museums and colleges
Far from a comprehensive depiction of any one type of protest, Giordano focuses on the signs and symbols, human figures and crowds, to create a multi-faceted portrait of a movement and sometimes, a counter-movement.
“I’m just going to trust my hand to do what it wants to do while I’m having this conversation and not have to go back with a fine-tooth comb to make it perfect.”
The exhibition is framed as a “gravitational field” of signs and symbols in which our relationship to the production of meaning is precarious by design.
Subverting mandated or established pasts, Bria Sterling-Wilson proclaims new realities for the inhabitants of her collaged universe—and for herself.