Review

The relatability of the images is broadened by the sheer number of venues and types of people Carson has captured.

Graybill certainly knows how make excellent objects and installations with the kinds of things we never associate with art.

Smith chronicles a life from the perspective of death. Altogether the works present the futility of our struggle to find meaning in our past.

It’s easy to make “difficult” art; what’s hard is pulling off something good that instantly elicits pleasure and recognition.

Kellar pushes the physical limits of his technique in his recent works.

Vernon's paintings accumulate and resolve, but are always trying something, risking something, asking something.

There are precious few artists who attempt to create the kind of ambitious mythological gospel that Hancock has been writing for the last twenty years.

The rich and cumulative layers of ceramics abundant in this show read like turbulent bodies packaged and disseminated.

It’s easy to overlook people being killed in state-sanctioned executions when they are just numbers on a page. It’s much harder to ignore the system when you humanize an inmate and grasp him or her as an individual.

Florentin wants to unfix hard distintions between human activity and earth’s own projects: i.e. nature and culture.

Keasler took a deep breath and dove into this esoteric and unlikely subculture with her eyes and lens wide open.

You cannot even try to discuss Meads' work without starting with queer life, the death drive, and sex. It is the topic. 

The photos are simultaneously stark and ecstatic, and the printing process gives them an embossed tactility.

'Tea Ceremony' is a natural evolution of Sachs’ sensibility. He’s demanding that both he and his audience slow down.

We have always located traces of the supernatural in tech. Could technology actually inspire us to look again at the world around us?

Kubo’s process articulates the idea that the objects of our environments have an ambient energy.

This fiber show of emerging artists prioritizes aesthetic value over utility.

I felt incredibly gratified to see Harryhausen’s kraken and Medusa and Pegusus in person, and, as nostalgia’s double edge is prone to deliver, a little shaken.

It is interesting when artists find some thread in a work of pop culture and yank it out and sew it into the center point of their own mandelas

Steeped in technique, Murray’s aim is contemporary. His target? The news.