Eversley’s parabolic sculptures draw us into a self-aware and ever-shifting encounter with space and perceptual phenomena.
Natalie Haddad
Natalie Haddad is Reviews Editor at Hyperallergic and an art writer. She received her PhD in Art History, Theory and Criticism at the University of California San Diego. Her research focuses on World War I and Weimar-era German art. She has written extensively on modern and contemporary art and has contributed essays to various art publications and exhibition catalogues.
Henrik Olesen’s Formless, Transgressive Bodies
For much of his career, Olesen has confronted both psychological and physical violence, perpetrated by power structures against non-normative bodies.
Painting the Family Dynamics of Toys and Food
Ulala Imai does more than project human feelings onto toys; she proposes that they represent us, and that we share some of their qualities.
Doug Aitken’s Cities of Loss
Aitken’s exhibition “Flags and Debris” is informed by a dialectic of embodiment and absence.
Clarence Holbrook Carter, an American Surrealist Who Painted Life, Death, and Rebirth
Carter’s paintings gesture toward unknown realms, whether death or nonhuman consciousness.
Four Artists Recall a Year to Forget
Judith Bernstein, Carroll Dunham, Alia Ali, and Tomashi Jackson talk about what got them through 2020.
The Fallacies of Whiteness
Divya Mehra offers a complex view of race and identity that supplants the myth of a monolithic Other.
Rodney McMillian Deftly Treads the Line Between Politics and Aesthetics
In Body Politic, McMillian unveils the insidious racial exclusion and oppression in Abstract Expressionism and landscape painting.
Cosima von Bonin Takes Cute Art Seriously
Implicit throughout the artist’s latest show is the tension between the feeling of failure and the struggle to be recognized and taken seriously, rather than erased.
A “People’s History” of Los Angeles’s Skid Row
Artists and activists have a long history in the Skid Row neighborhood. An online archive documents their stories and influence.
Léon Spilliaert’s Nocturnal Visions
Spilliaert saw his hometown of Ostend, Belgium, as a kind of liminal space between the outside and his interior world.
Ree Morton’s Personal Work Asserts That Art Doesn’t Exist in a Vacuum
While Morton’s career spanned less than a decade (1968–1977), her work remains vital to questioning what it means to be a woman in art history and society.