Those who knew him, even on a professional level, as I did, recognized that his eccentric, dynamic personality—full of wit and caustic humor—was reflected in all his artistic endeavors, including the works on view here.

Earthy, ephemeral-looking, elegant papers of different stocks, textures, and hues that mimic dramatic elements of nature are interwoven throughout the volume.

Xingzi magically conjures that awful sense of being left behind—the palpable depression of missing the one you love.

In so doing, she simultaneously points to how “grooming” can refer to either preening oneself to attract a partner or manipulating a child into sexual abuse.

Yet unlike Parrish, these images have not sprung from her imagination: she paints the places she has lived, invested in a political exploration of her natural landscape—not only of Superfunds, but immigrant farm workers, abandoned Navy Yards, the curated growth within gardens.

Little-seen still photos and film footage of Rauschenberg at work make Taking Venice requisite viewing for anyone interested in American art of the 1960s and is an invaluable addition to the still-unfolding history of that pivotal moment.

Known for abstract paintings, sculptures, and installations in encaustic, glass, marble, and experimental materials such as natural resins, Pavel Kraus died suddenly of a heart attack on April 15. He was 77. Kraus’s work and career, extending over five decades, encompassed a thorough assimilation of mid-twentieth-century Eastern European avant-garde styles, as well as the dynamics […]

Flack demonstrates that she achieved much in a world long dominated by men.

At times, we even feel empathy for his subjects—imagine that.

While realized in a quasi-abstract visual language of reductive forms and spare color, each painting evokes a sense of wonder at the setting moon.