The Aldrich Contemporary Art Museum

At the Aldrich Museum of Contemporary Art, the artist's series of stoneware works offer a feminist critique of domestic life under the unmistakable presence of death.

A world without art would be a gloomy and dreary place and while art lovers can visit some museums or take a virtual stroll through exhibitions, the COVID-19 pandemic has distanced many not just from their social circles but also from art.

An exhibition in Connecticut unites two dozen works featuring a single motif, reaffirming the restlessness of this painter’s progress.

Two years ago, when The Aldrich Contemporary Art Museum in Ridgefield, Connecticut, set about its exhibition planning for 2020, an obvious event to address was the US election.

In the midst of a wholly digital world, where all one has to do to see a work of art is perform a simple Google search, what is the role of the art museum? Education and Exhibitions intern, Anika Khakoo reflects on her virtual internship at The Aldrich Contemporary Art Museum.

Rudy Shepherd’s Somebody’s Child paints the portraits of victims in an effort to celebrate their humanity and mourn the loss of life.

In Genesis Belanger’s exhibition Through the Eye of a Needle, curated by Amy Smith-Stewart, death is an expected, albeit uninvited, guest, at home in the affluent domiciles orchestrated here through tableaux and mise-en-scène.

Curatorial Assistant and Publications Manager Caitlin Monachino created a gingerbread replica of The Aldrich for a local event at the Lounsbury House in Ridgefield. Read about her process of creating this incredible masterpiece!

The artist has painted 400 portraits pulled from the news cycle to understand the people beyond the headlines.

Twenty Twenty's 71 works are by only seven artists, who in late 2019 were asked to capture 2020 with drawings they based on photographic images.

“Twenty Twenty,” an exhibit that documents and responds to the 2020 election season.

The show highlights Stella’s work with star figures, a form he’s often explored during a career of more than six decades.

A new exhibition calls to mind an interview with Frank Stella from a 1983 issue of Architectural Digest.

The artist's first ever major solo exhibition is now showing at the Aldrich Contemporary Art Museum in Connecticut.

There’s always something slightly unnerving about Genesis Belanger’s sculptures. Her tableaux of furniture and ceramics, with their crisp edges, soft, buttery textures, and dusty pink and tan hues, are spiked with a sharp, humorous bite.

Sculptural artist Genesis Belanger made her solo show debut at The Aldrich Contemporary Art Museum on Sept. 21 with her haunting exhibition “Genesis Belanger: Through the Eye of a Needle.”

Genesis Belanger meditates on mourning and loss in Wallpaper's October issue.

Genesis Belanger's theatrical life-size tableaux blur the boundaries of art and design. he artist creates stage sets with furniture she builds to evoke loosely a nostalgic mid-century mood.

In her first major solo museum exhibition, Through the Eye of a Needle at The Aldrich Contemporary Art Museum, Genesis Belanger expands her iconic, domestic porcelain and stoneware objects that disavow glazes and anthropomorphize desires.

Belanger riffs on the sorts of thoughtful-but-ultimately-tired gestures that people make in sympathy.