Paintings crammed with matriarchs, wrestlers, and girls wearing bananas on their heads—where quite a lot more is going on than first appears.
Using a darkened home, precisely placed mirrors, and the occasional judicious cut in a wall, light becomes sculpture.
Intricate designs found in large-scale, labor-intensive relief prints made from the cross sections of trees and lumber.
Irresistible paintings don’t always need giant frames. An interview with the painter who electrified this year’s Whitney Biennial.
Portraits of young men in Panama showing off their bikes—strikingly decorated, variously macho, and altogether priti.
Joining a band at middle age can feel like a juvenile, shameful pursuit, until you consider all the gear you get to buy. A report on purchasing earplugs and playing live—but why are the crowds so small?—when you’re 40.
Pictures where the eye lingers not only on the image, but in it, as if something is waiting still deeper inside.
Photographs of people at war by the co-director of Restrepo, from an upcoming show at New York’s Yossi Milo Gallery.
Three series where the photographer waits until his subject finds a moment of perfect lighting.
Elegance found inside an Arizona parking lot of retired B-52 bombers, where function and form can be equally disturbing.
Imagine the people you see on your morning commute—sleepy, bored, stoic. Now picture them jammed together in the bed of a truck, speeding down the highway to work. Photographs of Mexico’s hidden (literally) class of workers.
An unfinished autobiography and a 1980s biopic turned Frances Farmer, one of the great golden-era stars, into a lobotomized zombie. The main trouble: Frances Farmer wasn’t lobotomized. An investigation to set one of Hollywood’s most convoluted stories straight.