Each year more than 325 avian species use the Mississippi Flyway, a migratory path that extends from Canada through the Midwestern United States to the Caribbean and South America.
MICHAEL ASHER worked in that space of barely discernible distinctions Duchamp liked to call the “infrathin”: the distinction, for example, between the thickness of a single magazine page and two glued together.
Diane Burko’s “Bearing Witness,” her exhibition at Cristin Tierney, examined the boundlessness of nature’s sublimity, even in the midst of terrifying ecological collapse.
“Faith Wilding: Inside, outside, alive in the shell” was a small and deftly selected survey featuring sculptures, texts, artist’s books, photographs, videos, archival materials.
How often these days do you come across a more or less orthodox adherent of the Julio González/David Smith/Anthony Caro lineage of welded-metal sculpture? Rarely.
Silvia Bächli called her recent exhibition “lines are telling stories,” and in fact her lines never stop narrating while continually changing their discursive purpose.
This summer, visitors to the State Rooms at Buckingham Palace will see a special exhibition, The King’s Tour Artists, featuring over 70 works of art from His Majesty’s own collection, many on public display for the first time.