Ian Bourland

The LA gallery partners with TRII to present an online show on the ‘counterhistories’ of Black experience, but should we ask more of galleries in their antiracist efforts?

At von ammon co., Washington, D.C., the artist presents a series of new-media works that further his ‘New Peace’ polemics against the West’s exploitation of the natural world 

The gothic tales of notorious racist H.P. Lovecraft provide source material for HBO’s new show about ‘the hauntedness of Black life’

In the director’s sweeping new Vietnam War film, it is never clear ‘who is the colonizer and who is the colonized’ 

The fifth season of Billions is a queasy portrait of inequality in the US, but it can be hard to look away

The new HBO series imagines a celebrity, Nazi-sympathizing president and election fraud in the 1940s 

From The Walking Dead to Stranger Things, frightening revivals ‘captured a bit of lost magic in a disenchanted world’ 

The artist’s moving portraits of ‘unallocated’ auto workers in Lordstown, Ohio, on view at the Renaissance Society, celebrate the power of unions as job losses hit US manufacturing

The new film is neither as sombre and meditative as the work of contemporaries such as Robert Redford, nor as adaptive as the real-world activism of Jane Fonda

Informed by the legacies of funk and jazz, the artist’s many collaborations are given space to shine

The most famous painter in the US finally receives art world recognition

The collective’s 1998 record – creating tension that builds like a fever – remains a shadowy noir, and a harbinger of human tragedy

Ian Bourland profiles one of the leading gallerists of the East Village scene of the 1980s

At the Brooklyn Museum, a landmark exhibition of never-before-seen photographs captures a rich spectrum of postwar American life

For more than 60 years the Tehran-born, Minneapolis-based artist has made work about community, coexistence and the experience of exile

Twenty years on from the devastating shooting, can its cultural legacy in film and television reframe our present moment?

Body and landscape converge in the groundbreaking painter’s first US retrospective at the Phillips Collection, Washington, DC

Federal museums ensure that art is not merely the purview of the leisured class; the impasse is an abdication of that responsibility

Director Yorgos Lanthimos does away with the prudish niceties of the Merchant Ivory format with satisfying energy

Exotic flora and tentative ‘Afronauts’ speak to a sense of alienation, but throughout the artist’s work runs a current of optimism