Matt Hendon’s ongoing body of work in mixed media, Everything That Can Expire, is about challenging himself: first, to reimagine what it means to work with images instead of creating drawings or illustrations; and second, to create compositions that complicate his own and his viewers’ visual aesthetic sense. In addition to being a visual artist, Hendon works as a designer, and there are interesting and[…..]

The assembly of works by AFRICOBRA (African Commune of Bad Relevant Artists), a collective of African American Chicago-based artists active during the 1960s and 1970s, now on display at the Logan Center for the Arts could fairly be described as a time capsule; it is more important for the moment it captures than for its contents. In addition to this exhibition, titled AFRICOBRA: Philosophy, the collective currently has two other[…..]

Katarzyna Przezwanska‘s work is both playful and serious: riotous colors precisely define spaces for objects on a desk or in a room, or grace the facade of a dour old concrete building. She is equally adept at using pop brights and cool, pensive tones to create moods or to reference a particular history or locale. Her installation in the most recent Frieze Art Fair elicited[…..]

Maybe it’s a case of seeing something a lot because I am hyper-interested—like when you suddenly notice that every other car on the freeway is a VW Jetta after you begin to drive one yourself—but I have been seeing a lot of design making its way into the fine art world of late. I’m talking about capital “D” Design, which for the purposes of this[…..]

Days ago, the Museum of Modern Art‘s Department of Architecture and Design announced their acquisition of a new work into the collection. The piece is one that we of the age of email and Twitter know well—the @ symbol. Since the announcement, the Internet has been abuzz with the news, mostly because its implications reach far beyond the art and design world. It’s so familiar[…..]