Nancy Flemings’s exhibition Good Will Prevail at Axle Contemporary uses domestic textile kitsch to evoke the home-feels of pandemic life.
Jason DeMarte's Trappings of Arcadia at Denver’s Rule Gallery addresses the clash between nature and artificiality.
May Stevens’s retrospective at SITE Santa Fe showcases a selection of her politically charged yet personal paintings and prints that display her ability to embody her conviction in a variety of styles and themes.
Texas artist Xxavier Edward Carter uses the anonymized debris of financial transactions and sales pitches as his canvases for the debut exhibition at Cluley Projects.
A look at iconic printmaker José Guadalupe Posada and Albuquerque Museum's current exhibition of his work.
The virtual-reality installation Carne y Arena, the brainchild of acclaimed director Alejandro G. Iñárritu, is an unforgettable twenty minutes of walking in migrants’ shoes at the U.S.-Mexico border.
Esphyr Slobodkina: Six Decades of Groundbreaking Painting, Collage, and Sculpture at the LewAllen Galleries in Santa Fe is a window into twentieth-century abstract art by one of the movement’s early pioneers, Esphyr Slobodkina, a versatile and prolific New York artist. A cofounder of the American Abstract Artists group, she translated the concepts of European Modernism into American idiom.
Indelible Ink displays pieces by nine multigenerational Native American printmaking women whose artwork stuns with originality, beauty, and color, while also illustrating the historical trauma that impacts Native people today.
Yōkai: Ghosts & Demons of Japan at the Museum of International Folk Art spotlights the Japanese folk art tradition of yōkai, which depicts paranormal beings such as ghosts, demons, and monsters in a variety of settings, ranging from traditional kabuki theater to Pokémon anime.
The provocative work of Francesca Woodman, an art photographer who took her life at only twenty-two, takes on new dimensions in Portrait of a Reputation, an exhibition at MCA Denver that combines Woodman’s experimental work from the late 1970s with candid photos of the artist by her friend, George Lange.
We, The Masses: Here, the men—drawn in mind-blowing detail on palimpsest-free surfaces—engage in unhinged activity, ranging from gnawing on tree bark to fighting with one another. Some men hug en masse: they seem to know that O’Neil is about to hit the go button on the apocalypse...
The thirty-five featured artists have opted to use the disarming power of humor, parody, and satire to counter, transcend, and transform the oppression they have suffered.
Labor: Motherhood and Art in 2020 in NMSU’s new art building fills its elegant spaces with imposing artwork, mostly photographs and installation work.These exhibitions put a spotlight on the idea of motherhood as a powerful but almost invisible force in life.
Di Wae Powa: They Came Back, an exhibition which opened in the fall of 2019 at the Poeh Cultural Center, in partnership with the Smithsonian Institution’s National Museum of the American Indian (NMAI), is a step towards reconciling a muddy and violent history of colonialism in the Southwest.
In Nari Ward: We the People at Contemporary Arts Museum Houston, the Harlem-based mixed-media artist subtly yet powerfully confronts America’s sordid legacy of racism and discrimination as well as overall American identity in his show of sculptural pieces constructed from discarded materials.
The exhibition, H. Joe Waldrum: Retrospective, at Rio Bravo Fine Art is a first-of-its-kind overview of works from the H. Joe Waldrum Trust, which inherited a majority of his pieces after his estate closed in 2014. The exhibition, curated by Eduardo Alicea-Moreno—director and president of Rio Bravo Fine Art, the Truth or Consequences, New Mexico, gallery Waldrum founded shortly before his unexpected death in 2003—showcases the depth and breadth of Waldrum’s high-volume career.
IAIA’s Museum of Contemporary Native Arts showcases its student printmakers from the ‘60s and ‘70s in their explorations of form and psyche.