Sunaura Taylor is an artist, writer and activist. Through painting, printmaking, writing and other forms of political and artistic engagement her work intervenes with dominant historical narratives of disability and animal oppression. Taylor's artworks have been exhibited at venues across the country, including the CUE Art Foundation, the Smithsonian Institution and the Berkeley Art Museum.
"Las sinsombrero" ("without hat") were a group of spanish women formed by the artists Maruja Mallo, Margarita Manso, Concha Méndez and the socialist activist Margarita Nelken.
A climate activist smeared pink paint on a Tom Thomson artwork at the National Gallery of Canada as part of activities this week drawing attention to demands for a national firefighting service.
A video uploaded to Facebook by the group On2Ottawa appears to show Kaleb Suedfeld, 28, splashing paint onto Thomson’s 1915 landscape Northern River, kneeling and gluing his hand onto the floor before pulling a written speech from his pocket.
By NAZANIN LANKARANI
PARIS — Five years after his rise to the top of the Chinese contemporary art market, Yue Minjun has something new to smile about.
Best known for his large-scale paintings depicting his own smiling face, Mr. Yue, who is based in Beijing, has long been a star of the Chinese contemporary art scene, having achieved commercial success through a highly singular aesthetic.
American Painter, Joe Lovett completes painting of historic magnitude, Stretch the Strangle Hold is a painting that captures an emotional response to the lie of war.
NORTHFIELD, Minn. — Exactly 1,281 white garments hang from the ceiling of the Perlman Teaching Museum’s Braucher Gallery. The collared shirts, knit sweaters, tights, and other items of clothing glow with an eerie luminosity.
On completion the 100 Faces project will consist of 100 Portraits of Americans who have been to the theaters of war in Iraq or Afghanistan (OEF,OIF). Each portrait is accompanied by a placard featuring a statement written by the person pictured and a brief biography of the person pictured. The biographical information and the statement reflect the person at the time of the creation of the portrait.
The immediate prototypes of Zhang Xiaogang’s Big Family series are formal group photographic portraits from the 1950’s and 60’s, including those of Zhang’s own family, a source of the painter’s “endless reveries.” From these old black-and-white pictures Zhang Xiaogang derived the series’ paradigmatic features: a subdued, nearly monochromatic palette; a thickly layered but flat surface, without overt evidence of brushwork; a general compositional restric