Theaster Gates reflects on the various collections he has acquired and created artworks with, including the Jet magazine archives and the inventory of an entire hardware store
Global Cultures – Banality and Kitsch
Can art be funny and serious at the same time? Using social media-inspired effects, artist Meriem Bennani subverts audience expectations of both pop culture and her own Muslim community with unexpected playfulness and pathos.
Meriem Bennani’s Exploded Visions
Contemporary painter Jamian Juliano-Villani talks about the pressure of being an emerging artist in New York and finds inspiration at Ripley's Believe It or Not!
An interview with Jamian Juliano-Villani
Artist Fred Wilson talks about the conventions of the museum and how he used them in his art to disrupt the inherent biases and traditional understandings that museums and its patrons have had
An interview with Fred Wilson about the ...
Artist Kerry James Marshall explains his series Mementos inspired by his memory of 1960s-era souvenirs.
An interview with Kerry James Marshall about ...
“We the People...” Thus begins the Preamble to the United States Constitution.
Nari Ward, We the People (black version)
Building the American dream in the California desert.
Stéphane Couturier, Fenetre, Eastlake Greens, San Diego
Can the commonplace working farmland of California's Sacramento River Valley be a place of of breathtaking beauty?
Thiebaud, Ponds and Streams
Smith created this in 1992, responding to the 500th anniversary of Christopher Columbus’ arrival in North America.
Jaune Quick-to-See Smith, Trade (Gifts for Trading ...
Tuffery’s iconic “tinned bull” addresses contemporary concerns about ecological health and food sovereignty
Michel Tuffery, Pisupo Lua Afe (Corned Beef ...
Though this looks like an exhibit in a natural history museum, Hirst’s subject comes straight from art history.
Damien Hirst, The Physical Impossibility of Death ...
At first glance this may seem to be an uncomposed snapshot of modern life. Think again.
Jeff Wall, A View from an Apartment
Koons’ cartoonish life-size emblems of childhood innocence are an assault upon both sincerity and taste.
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