Sylvia Sleigh, Kenneth Tam, Christine Sun Kim, Paul Gardère, and Rudy Burckhardt are ideal for anyone who desires a glimpse into an artist’s personal life and worldview.

The complexity of Burckhardt's work is easy to overlook, because he calls attention to neither his mastery nor his labor.

Stout achieved an ascetic sensuality in his geometric abstractions, a paradoxical synthesis of restraint and hedonism that is unmatched by any of his contemporaries.

It is refreshing to see a group show that hews to its curatorial statement, and includes both old friends and unexpected twists. 

He was one of the first American artists to grapple with the many parts of an individual’s identity, and seek to unify them.

Rather than trying to fool us with her representational paintings or showing off her virtuosity in the realm of resemblance, everything is on the surface.

With over 300 works on paper, plus paintings, sculptures, and furniture, The Way I See It: Selections from the KAWS Collection includes work by artists of every stripe. 

Diamond’s attention to the brush’s capacity to be simultaneously expressive and responsive is visible throughout her strongest paintings.

What you see in Young’s “stick” paintings is not a tightly executed, machine-like painting, but a humbler and more vulnerable approach.

His paintings invite us into a layered world we can move around and get lost in, without a destination.

His paintings are invitingly impenetrable, even as they stir up all sorts of associations, from mythological beginnings to rampant lust and greed.

Her figures are in a state of unrelenting grief about what it means to be human and to feel powerless about so much that happens to ourselves and others.

Fearless, prolific, and protean from the start of his career, Thompson was able to absorb influences from both contemporary and historical artists without becoming derivative.

Rhee's paintings change from pictorial presentations of a lush, dreamy world to a tangled web of different viscosities when we approach the surface. 

He has taken appropriation art, which often consists of commonplace acts of citation, quotation, and parody, and set it in a new direction.

Evan Halter’s use of collage in his trompe l’oeil paintings is about loss and our inability to see the actual world in all its complexity.

In his paintings, Joshua Hagler seems to follow a path where logic and convention are left behind in favor of visions and dreams.

The longer I sat with the artworks in David Reed’s studio, the more I felt that I wasn’t fully seeing what was there.

Lacey Black and Aubrey Levinthal share a talent in their paintings for bringing inward and outward states together until they are one.

The artist, a pioneering member of Lexington’s LGBTQ+ art world, used circus and sideshow imagery to create poignant meditations on isolation.

In a career that stretches across a catastrophic half-century of health crises and wars, Avery applies his activist and empathetic social conscience to all he does.

The more time I spent at Four Chicago Artists, the more I wanted to know about the less familiar paths these artists took in their work.

The fluidity of the artist’s line parallels her thought process and openness to taking unexpected paths, often prompted by a memory or life event.

Scholder, who called himself a "non-Indian Indian," refused to conform to expectations and rejected limiting definitions of his identity as Native American.

Milroy begins his paintings with direct observation but ends up someplace that I cannot name.

The tension between moments of quiet joy and inevitable calamity in Gu's ethereal portraits is riveting. 

I can think of no other painter who can so effectively pull the viewer into a space where clarity and puzzlement cannot be separated.

Working with line and color for more than two decades, Meyer has shown that reductive painting need not squeeze out improvisation.

Helander removes her art from the frozen time in which still life paintings exist and reminds us that the moment recreated has already come and gone.

Fiercely independent, the artist belongs to no art group, movement, or style.

In Nishimura’s devastating photographs of everyday life in Japan, the past is never past, and the people are rendered invisible. 

The tension between optimism and yearning remains taut throughout the artist’s exhibition of photogravures and found-material sculptures.

More than any other artist of his generation, Zucker rejected the conventions associated with Abstract Expressionism, particularly its subjectivity.

Wake Forest University is one of the few American institution of higher education to establish a collection of student-acquired art.

From an occult Renaissance manuscript and the history of eyeliner to Salman Rushdie’s new book, our staff and contributors have got you covered.

Mary Lum is interested in the deeply rooted human desire to make meaning out of everything, while recognizing that language is a slippery phenomenon.

Her paintings are searching for materially rooted forms while simultaneously reaching for something unfixed and uncontainable.

Politics and painting are at the center of shows by Beau Dick, Sam Jablon, Mira Schor, Rose B. Simpson, and Gary Stephan.

Americans in Paris at the Grey Art Museum highlights the vibrancy and openness of the Paris scene for Americans.

For Dine, physical labor and art-making are interchangeable: “When you paint every day, all year long, then the subject is essentially the act of working.”

With the layers of his collaged "paste-ups," Jess pulls us into an oneiric world, at once delightful and perplexing, magical and sublime.

This month: Audrey Flack, Sonya Clark, Raven Chacon, Mike Olin, and more.

Aji’s bifurcated practice reflects his experience of living and working in two different worlds, India and the Netherlands.

Joanna Beall Westermann, Mel Kendrick, Japanese zenga paintings, absolute gems from the collections of Swizz Beatz and Alicia Keys, and more. 

In his paintings, Ding establishes an imaginary dialogue with architect I. M. Pei that reveals something about both the artist and his subject.

Paintings that appear ever-changing make us conscious of how we see.

Mary Tooley Parker takes a folk art form that emerged in the mid-19th century and transforms it into a way of recounting life in the 1960s.

Something about Phillip Allen’s visual preoccupations speaks to the viewer’s mind and eye, the connections and ruptures between physical and visual sensations.

This month: Huma Bhabha, Paul Cadmus, Kay WalkingStick, Beatrix Potter, and more.

In Eveleth's work, debauchery and decadence meet in the lowly doughnut, which we are invited to read as a limbless torso with a dripping orifice.