Smashing high and low.
The puzzling pathos of sport, apparel, and the everyday.
It was a relationship that, from the outset, was not fated to last. She knew that.
Cherubini describes her lush, material-based approach to clay and glaze as “baroque minimalism.” Braman visited Cherubini’s Brooklyn Navy Yard studio as she prepared for her fall exhibition at the Pérez Art Museum Miami.
Mary Carlson takes inspiration from religious iconography, demons, and snakes in her latest exhibition, Beautiful Beast.
Toni Ross is a lithe, compact, and quiet storm of activity.
Jessica Jackson Hutchins’ sculptures reference the human body in all of its dumb charm and joyful habits. With Horodner she reflects on Levinas, contingency and Chinese scholars’ rocks.
Each Vessel is every vessel, and, simultaneously a unique on in itself.
“I like to work very hard,” Theaster Gates remarks in the following conversation, which just might be the understatement of the year.
Recognition as a visual artist—or, as he prefers, “a maker of things”—came late to Stanley Greaves. Until 1994 he was little known outside Guyana, where he was born in 1934, and Barbados, where he moved to live in 1987.
Katy Schimert’s wall of sea flowers, intricately folded from simple masking tape, offer themselves as a gift from an artist whose body of work is as complex as it is elusive.
Jeff Perrone chats with friend Roberto Juarez about his multi-paneled Indian-inspired ceramic and canvas paintings, and his struggle to find a niche as an “exotic structuralist” in the art world.
Glazed earthenware piece, Perfuming the Sultan’s Bed Chamber by Jeff Perrone.
Two drawings, Working Drawing and Jug and Dish, and two earthenware jug and dish sets by Andrew Lord.
James “Son” Thomas is a sculptor and a Blues singer and guitarist living in Leland, Mississippi.