Somewhere along the way, “millennial” became a dirty word, or at least a tainted one—shorthand…
Reisha Perlmutter’s works in water is art of the double-take variety, possessing a photographic quality upon first glance. Perlmutter studied painting at The School of the Art Institute of Chicago and received her MFA from The New York Academy of Art.
Panmela Castro uses street art as a vessel to raise awareness for women’s rights in her native country.
Inspired by “space operas, pop culture, geometry and the setting sun,” Esther Ruiz’s objects splay the line between both distant and minimal and approachable and hypnotic.
Catalina Ouyang is a visual artist and self-described “child of the Chinese diaspora by way of St. Louis, New Jersey, and an obscure cul-de-sac outside of Chicago.”
Munich-based artist Alina Birkner’s paintings are the stuff of gallery-selfie dreams.
Aura Lewis loved drawing, so she decided to turn her illustrations into a meaningful career.
Photographer Aneta Bartos talks about her new series, “Family Portrait,” and why art should always make us uncomfortable.
Artist Janie Korn employs old-school claymation and stop-motion techniques, a hands-on art form that defies the challenges often associated with a lack of CGI training.
“There is no search for identity in my work. I know that identity doesn’t exist. There are only infinite layers of me. If I peel them back, like the skin of an onion, there will be nothing underneath.” —Kimiko Yoshida
A Women’s Thing is partnering with Montez Press and the Brooklyn Institute of Social Research for an art show reimagining James Joyce’s “Ulysses.”
American photographer and artist Cindy Sherman established her decades-long career by focusing her work on a very specific person—herself. In her self-portraits, Sherman makes statements about popular constructs of female identity.
Marilyn Minter is an American artist currently living and working in New York City. She collaborated with Miley Cyrus to support Planned Parenthood of New York City.
As an artist, your studio becomes your sanctum, your safe haven for investigating your visceral truths without judgement. That is until you start having studio visits.
“Polka dots can’t stay alone,” Japanese artist Yayoi Kusama once said of her attraction to the pattern that dominates her work. A fixture of the 1960s New York avant-garde scene, Kusama has long held that obsessive-compulsive disorder fuels her creativity.