Painting’s Perpetual Death and Rebirth
Stop Painting recognizes art as an impossible endeavor that is perhaps most generative when its conflicts remain unresolved.
Mindfully Curated
Stop Painting recognizes art as an impossible endeavor that is perhaps most generative when its conflicts remain unresolved.
Afro Hippie examines Huffman’s time at Berkeley and how it continues to influence him today.
This exhibition could use some more acreage to convey the feeling of standing at a doorway leading to a universe sparkling with abundant energies.
European cast making and exchange of plaster copies have played an essential role in the worship of Classical art in European and North American aesthetics, higher education, and architecture.
This week, a rare Frida Kahlo self-portrait is going to auction, the Lanier family continues fighting to have photos of their enslaved ancestors returned from Harvard, a restoration of a late work by Michelangelo, and more.
Daisy Youngblood is a portrait sculptor whose themes include the embracing of one’s mortality.
The project required 269,000 square feet of silvery-blue polypropylene fabric, 32,300 square feet of red rope, and the combined efforts of 1,200 workers.
Your list of must-see, fun, insightful, and very New York art events this month.
Your list of must-see, fun, insightful, and very Los Angeles art events this month.
Six artists provide distinct ways of seeing the Caribbean in its proper orientation.
I cannot think of another American artist who went as far as Guston did without a safety net.
Yoakum had said repeatedly that the drawings were “spiritual unfoldments,” meaning that faith guided his patterns and passages.
The exhibition at the Metropolitan Museum aims to move beyond Euro-American historical narrative.
The exhibition, on view for the next 75 years, features 250 rare items from the library’s collection.
Saar’s irreverent paintings of dolls from her collection celebrate the catharsis she found in play.
With the opening of the new, $40 million structure in East Williamsburg, it poses the question of its role in the local arts community — one of collaboration or conquest?
Here We Are! is an expansive exhibition exploring the role of women in furniture design, fashion design, industrial design, and interior design.
The photograph of Mahal, taken in 1872 while she was interned and dispossessed, raises questions of consent.
Tabitha Arnold’s rugs pay tribute to organizers who lay their bodies on the line in the workplace, in the public square, and in the depths of private prisons.
The intentionality of Booker’s abstraction gives me the impetus to discuss something about the current zeitgeist that’s been on my mind for a while.