Melissa McGill’s photography series born out of her larger social project in Venice
Augmented Reality as Public Art
Body is a battleground. Body is a weapon. Body is testimony of endless fights against racial, class, and sexual oppression.
Like all of Lucas’s work, it is as poetic as it is vulgar, as sincere as it is ironic, as empowering as it is depressing, and as meaningful as it is mundane.
Li Shuang has never stopped questioning what technology and globalization mean for individuals in her art.
fun, twisted and contradictory—qualities that shine through in Wong’s short animated films, installations, and my conversation with the artist.
Have a Nice Day is a stark, ruthless, and true-to-life movie about people living on the urban-rural fringe of China today.
Guillermo del Toro’s latest film, about a mute cleaning woman who liberates and falls in love with a humanoid amphibian monster, is intimate in scale but tells a potent story of empowerment.
Even as a top-of-the-line party that offers a gateway into China, the exhibition is undeniably a towering monument of nostalgia rather than the flying banner of a glorious revolution.
A retrospective at the MCA Chicago charts the many strands of Murakami’s painting practice, from his early Nihonga style to recent Buddhist iconography.
At a screening of his work at the New Museum, the artist failed to acknowledge the privilege that lets him reduce violence to an aesthetic form.
Two films made almost 50 years apart use silent shots of landscapes to examine the conditions that drove two young people to criminality.
The barbershop was just a “subterfuge.” What was hidden behind the shop was a control room surveilling Times Square.
an ongoing research on Teshima Art Museum in the Sato Inland Sea area, Japan.