Collaborators rather than mere models for the artist, Romero’s subjects actively shape their own representation and convey the power of artistic reclamation.
The overwhelming majority of the Manhattan school’s faculty members are unprotected adjuncts.
The vibrant exhibition at Perrotin presents a bounty of sculptures, paintings, prints, and assemblages.
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“Landscape Forms,” a 1959 artwork whose whereabouts were unknown for decades, is headed to Christie’s after it was spotted online by a sharp-eyed appraiser.
McMullen draws on the familiarity of wooded landscapes and draws us into dreamlike worlds.
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