Slowing Down Time: Erin Fostel’s Drawings of Light, Shadow, and Space
Erin Fostel: 'Time of Day, Place in Life' at C. Grimaldis Gallery
Fostel’s drawings are as much about what’s there as what’s not.
Erin Fostel: 'Time of Day, Place in Life' at C. Grimaldis Gallery
Fostel’s drawings are as much about what’s there as what’s not.
'Music That Raised Us' at Black Artist Research Space
Music That Raised Us, which ran March 19-April 16, was an amalgamation of the collaborators' experiences but also of any artist who has been touched by the melody of a Stevie Wonder song or moved to move by the rhythm of a funk tune.
Subscribers, Contributors, and Featured Artists Celebrate our Collect Issue
A Garden Party for BmoreArt's subscribers, who made Issue 13 possible, as well as featured artists, contributors, and media partners
Review of 'Fields and Formations: A Survey of Mid-Atlantic Abstraction' at the Katzen Arts Center
These artists don’t present an escape from chaos—rather, they ask us to look, listen, and sit inside it.
Photos from the Phillips Collection's Centennial Gala at the National Cathedral by E. Brady Robinson
“Seeing the world differently and reimagining tomorrow” was the theme for the Phillips Collection’s Gala held on April 29th at the Washington National Cathedral, designed to honor a century of leadership in the art and museum world.
After a five-year renovation, the Holliday Street building is starting a new life
The non-profit group behind the restoration has successfully completed its $5.5 million capital campaign and scheduled a Grand Opening ceremony for August 13, 2022, the 208th anniversary of The Peale’s original opening.
The memories that our mothers' wardrobes hold
We slip on a jacket and slide into a part of them.
'Activating the Renaissance' at the Walters brings contemporary artists into conversation with altarpieces and saints
Flanked by ranks of Quattrocento holy figures, Stephen Towns’ protagonist feels at once at home and strikingly distinct.
Review of 'Early Blossoms/Perilous Thirds' at Current Space featuring Stephanie Barber, Patrick David, and Josh Dorman
Barber, David, and Dorman transport viewers to fictitious and prophetic scenarios of apocalypses and hopeful futures that suspend disbelief through immersion in surreal realms.
Organizers hope to attract collectors of all stripes
Twenty-four galleries, dealers, and print publishers from across the country will be present for the fair in Pigtown.
Five-artist show at Mono Practice invites reconsiderations of abstraction
The intimate group show, Order and Uncertainty: Five Abstract Painters, features painters who share what curator Timothy App calls a classical impulse to bring order to abstraction: Power Boothe, the late Julie Karabenick; Patsy Krebs, WC Richardson, and Linling Lu.
Proceeds benefit the Ukrainian Emergency Art Fund, which gives cultural workers emergency financial aid
This concrete gesture of solidarity is Elena Volkova’s way of “trying to turn grief into something productive,” she says. “Better than being curled-up crying on the floor.”
Joseph Orzal and his team envision a departure from the art-world machine
It all started in a DC living room eight years ago.
The artist discusses obsession with images, audiovisual archives, and exploring the limits of technology
Her work tells a story of real objects typically recast in an otherworldly way.
The Hirshhorn exhibit offers a fine-grained account of an artistic career that spans more than 70 years
After a two-year, Covid-related delay, One With Eternity, featuring five works by the beloved nonagenarian Yayoi Kusama, is now open at the Hirshhorn.
The artists with roots in Ukraine and Russia discuss war, photography, solidarity, and support
This war is gruesome, immoral, and cruel—both to the Ukrainian people, civilians targeted every day, and to the Russian soldiers who are dying for a cause many of them do not believe in.
A conversation with the now-deceased painter, contrarian, mentor, and longtime MICA faculty member
"I really believe the academic training I received was good for me, because I think, intrinsically, I’m a nut."
In 'Don’t put it back like it was,’ Larner explores creative destruction and transformation through materials such as mold, hair, and stainless steel
The first object I meet immediately implicates me in a process of dismantling.