If you ever feel like contemplating infinity, try copying out by hand, several thousand digits of pi. It sounds punishing. But for Jiayi and Shih-Wen Young, such exercises inspire visual possibilities.
Raymond Saunders casts an array of disparate elements into a pitch-perfect balance of order and accident, demonstrating the subtle poetry of random arrangements of everyday detritus.
Chris McCaw uses the sun’s heat to scorch the his large-format photos. Mario Giacomelli depicts the Italian landscape as a palimpsest of gestures and messages, overwritten by time and human activity.
Nodding to historical notions of Romanticism, this show of New York artists filters its subject through the lens of various other isms: narcissism, voyeurism, consumerism and careerism.
Margaret Harrison explores the politics of domesticity, addressing from domestic labor to genital mutilation. Her work tracks gender oppression in the global and political sphere.
David Trautrimas makes digitally manipulated photos from yesteryear’s appliances; Kristina Lewis builds futuristic objects from spike-heeled shoes. Wham! Zap! Kapow!
The sculptures and drawings of Mari Andrews and Sheila Ghidini aim at what Suzi Gablik called a “resacralization” of the world: a reclamation of all that has been lost on our beleaguered planet.
Whether he’s sneering at bourgeoisie social conventions or savaging institutional powers that feed on human suffering, painter Luc Tuymans is all about exposing the things that carefully crafted appearances are designed to disguise.
In their collaborative works, Harvey and Koo wrest order from manufactured chaos. Their wall-sized montages, built from thousands of images, show painting at its maximally expressive.
Eleanor Wood’s hermetic Minimalism embraces a sense of infinitely plotted spatial extensions while instantiating an intricate, insistent, rigidly contained, eye-catching, hypnotic singularity.
After the exhaustively hagiographical 2003 Diane Arbus retrospective, Revelation, at SFMOMA, what more can there be to say or look at? Plenty, as this show of around 30 early works and outtakes.
Markus Linnebrink doesn’t compose in the conventional sense; his works are a kind of visual archeology: an exploratory process in which the artist is both creator and excavator.
Employing Cubism’s floating color planes and Abstract Expressionism’s turbulent paint and ambiguous ideographs/hieroglyphs, Henderson’s works generate their own force field.
Can Minimalism’s geometry, impenetrable surfaces and modular units be recast with feeling? Theodora Varnay Jones answers with an emphatic yes.
Richard Gilles’ photo aren’t just about our wrecked economy. They document the void that exists between cities, suburbs, mountains and farmland.
David Wetzl’s paintings attempt to make sense of the anarchy of human history. You may disagree with his positive forecast, but you can’t help but marvel at his inventiveness.