Many painters depict themselves, but few work exclusively in the genre of self-portraiture. Selections from Haley Hasler’s body of work—the artist in costumes of everyday life.
One woman powers herself with a solar panel. Another wears a neon sign in her Afro. In the future as in the past, identity is never one-dimensional.
Irresistible watercolors of mouthy cowboys, automobile wrecks, boxing matches, rodeo clowns, and rock bands.
Square paintings that take the smallest things—a gas station’s roof, a swing set’s leg—and find unease in the most cheerful of circumstances.
A former criminologist focuses on the lighter side of Los Angeles. Oil paintings of the city’s shops, streets, and people, with a particular focus on a single bright pink store.
Foliage bursting into living rooms. Houses floating in trees. Dynamic paintings of how natural and built spaces invade one another.
Experiencing a piece of art can be transporting, but the act of explaining it to someone else is an art form in itself. No wonder that docents, professors, even patrons get caught up in the act.
New paintings that question how much we truly influence our fate, and whether or not life is just a string of accidents.
Women of the African diaspora crowned with elaborate headpieces, celebrating might, independence, and heart.
Inspired by Old Master still lifes, Paulette Tavormina’s photographs lie in an uncanny valley of beauty—dew-dappled flowers combined with jumping goldfish.
Thirteen “liberated, assertive, ferocious” takes on Da Vinci’s famous painting show us the Mona Lisa as never before seen.
Everyday scenes of Greece in paintings that evoke the quiet fatigue from living with economic uncertainty.