Reviews

What does it mean to call a group of young artists a school or a movement, or even group? Renny Pritikin reports.

At 85, Ed Moses continues to be one of the most fascinating and enigmatic figures in contemporary art. This SF exhibition shows why.

The artists frame the bridge as an emblem of the “technological sublime”, celebrating its functional and aesthetic virtues.

Suspend your exalted notions of culture. When it comes to human destiny, biology rules.

Time and mortality are the ostensible subjects of this three-person show featuring Mary Hull Webster, Ilene Segalove and Margo Majewska.

A media artist, a celebrity photographer and a history painter. An unlikely trifecta that works. David M. Roth reports.

Her recycled cardboard sculpture falls between art and craft, abstraction and representation. It thrums with satisfying tension. Maria Porges reports.

How do you represent nature in the era of Google Earth? Ten artists create visions of a “New Sublime.”

To understand the unknowable, Carroll seeks out conjunctions between the Earthly and the otherworldly.

A powerful affirmation of painting undertaken right before American art underwent five decades of upheaval.

In addition to the main events, this year’s Biennial featured 88 national pavilions and 46 collateral exhibitions. Mark Van Proyen reports.

“Of the Venice Biennial exhibitions that I have witnessed, the 55th is the best and the most ambitious.” Mark Van Proyen reports.

Scouring Europe and the Mideast for surviving examples of the original Bauhaus buildings, the photographer demonstrates why those structures were revolutionary. Then and now.

Jang has a knack for framing decisive moments packed with details that make you look and keep on looking.

He creates cartographic mash-ups of disparate visual languages; she retools the art and architecture of ancient India.

Incorporating texts and musical scores, Picton’s fire-tinged paper sculptures present multi-layered views of urban history at pivotal junctures.