Contemporary art lovers have until July 9 to see more than two dozen of Katherine Bernhardt’s colorful, large, curious paintings on canvas and paper at The Modern Art Museum of Fort Worth.
I’ve always had a pestering curiosity about Anna Sokolow. A great American choreographer who influenced the development of modern dance in America, Israel, and Mexico—to say nothing of the famous actors who credit her as a force in their training, including Faye Dunaway, Julie Harris, Eva-Marie Saint, Jean Stapleton, Eli Wallach, Patti LuPone, and Kevin Kline—Sokolow nevertheless remains at the periphery of the canon.
You can’t see, shortened from the phrase “You can’t see how you see me,” is an exhibition and body of work by Ann Johnson that addresses a plethora of issues facing people and communities of color today.
Exploring the aesthetics of self-destruction, Lionel Maunz uses cast iron, concrete, and steel to create dystopian figurative sculptures—surprisingly organic forms that appear distorted by dismemberment and decay.
Traditional tunes, rhythms and harmonies played no role. Instead, the chamber ensemble offered up an ever-shifting soundscape of shimmers, glimmers, rustlings and wisps —Finnish composer Kaija Saariaho’s salute to the Northern Lights.
My recent visit to Project Row Houses’s 46th round of exhibitions, Black Women Artists for Black Lives Matter at Project Row Houses, on view March 25 through June 4, introduced me to a new way to consider empathy: As an ultimatum.
Usually, when we introduce an artist in a piece of writing, we write “singer” or “composer” and then their name, but the list of things Amina Claudine Myers does and has done is too extensive to be filed under one, two, or even three labels.
Olafur Eliasson is a Danish-born artist who has presented his installations and socially-riveting interventions around the world including The Weather Project at the Tate Modern, Blind Pavilion at the 50th Venice Biennale, and New York City Waterfalls in New York City.