The German artist does not totally eschew the ideas of the figurative or perspective in gestural abstractions that get more at the idea of illusion.
Trevor Reese upends viewer expectations by casting the interior of a garden shed and printing a towering text drawn from an array of sources.
In sculpture that combines a modernist’s abstraction with traditions of craft and woodworking, Murrell employs symbols to “reflect on the cycles of nature and what it is to be human.”
The artist’s current exhibition is like a party gone wrong. And that’s exactly the effect she’s going for.
Using minimal materials and maximal innuendo, Al Taylor created subtle works full of historical references and tinged with humor. An exhibition at the High Museum is the first comprehensive museum retrospective of his work.
Drennen’s exhibition continues his ongoing series of paintings based Shakespeare’s least-known play “Timon of Athens,” this time focusing on the character Bandit.
Can an exhibition of contemporary Saudi art in Memphis bridge cultural differences?
The current survey of works by the Argentinian artist covers the arc of her career, from early conceptualism to the more recent displays of absurdity, revealing an aesthetic aloofness that is sharply countered by wry humor.
Equipped with ingenuity and resourcefulness, a new generation of designers demonstrate why the future of design is theirs.
Kirk Varnedoe was arguably one of the most influential curators of the 20th century. The Savannah native’s legacy is explored in three intersecting exhibitions in his hometown.
“Muse” focuses on Mickalene Thomas’s elaborately staged photographs, which, like her well-known bejeweled paintings, question the authority of existing stereotypes and expose the complex cogs of identity and perception.
Best known for his work in TV, video and film, the Chattanooga native professes a nostalgia for his Southern roots. But our reviewer takes issue with his work in this mini-retrospective because it “preserves a narrative of the Civil War as a battle for heritage and state’s rights and not the continuous enslavement of African-Americans for economic gain.”
As a former New Orleanian, our writer finds the tropes of Prospect.4 are tired for a local or regional audience, and tend to work best with out-of-towners who have superficial knowledge of the city.
By Jerry Cullum Kelly Kristin Jones’s exhibition “Cotton Is Still King (Although Robbed of Some of Its Dictatorship)” at Sandler Hudson Gallery is the artist’s response to the ubiquity in Metro Atlanta of historical signage that honors “mostly … a past war and dead white men.” She further remarks, in the explanatory brochure that accompanies…
In his photos and charcoal drawings, the Jamaican-born artist suggests that the mutability of identity is partially the product of historical forces, as well as an issue of self-perception and self-representation.
In 1982, Nancy Floyd resolved to make a photograph of herself each day, a project she has pursued with a profound sense of duty. This formula is not a contrivance, but also not apart from artifice. Each image is a study in the banality of the everyday.
The exhibit “EBOLA: People + Public Health + Political Will” presents a thorough visual account of the deadly 2014-16 Ebola epidemic through preserved artifacts and ephemera that attest to the heroic and herculean effort undertaken by international governments, organizations, scientific and medical personnel, and ordinary people.
Rosemary Mayer worked with fabric at a time when the medium was primarily associated with women’s work, but to her it gave her the freedom to be experimental. A recent exhibition at the Lamar Dodd School of Art at the University of Georgia recreated lost fabric works from the 1970s.