Arts

After years in the making, New Time opens at the Berkeley Art Museum and Pacific Film Archive.

This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.

Titian’s paintings are masterpieces, with all the complications of the term.

You don’t need a train ticket to see the five glass mosaic murals by Bradford at the L train 1 Avenue stop.

An exhibition at the National Gallery of Art will trace the technique’s development through Europe, starting in the late 1700s.

The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.

Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.

By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.

The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.

Josué Rojas came from El Salvador as a toddler, and his family settled in the Mission.

The intricate patterns and strategic colors of the linens used on mummified remains have only begun to be understood by humanists, museum specialists, and chemists working together.

Walt Disney built his media empire animating fairy tales; he did not start making films set in a Nazi-occupied Europe by choice.

An exhibition of cabinet cards at LACMA showcases marketing and personal panache.

This week, the scourge of immersive exhibitions, the popularity of anti-vax deathbed videos, the pregnant man emoji, Chomsky on Afghanistan, Met Gala commentary, and more.

The 40-year relationship that unfolded between Toklas and Stein became the bedrock of Paris’s artistic avant-garde.

Fifty works, all created by women, are brought together across time and media as the Norton Museum of Art reckons with the art world’s patriarchal past and present.

In the Blactiquing Space, curator and collector Kevin Jones presents deeply fraught objects with emotion, connection, and care.

Jackson’s exhibition The Land Claim began an extensive dialogue with local Indigenous, Black, and Latinx families on Long Island’s East End.

There is not a hint of psychological trauma in Astrup’s art, despite the parallels in his own experience to that of his countryman Edvard Munch.

Inspired by her foremothers’ recycling of materials, Jan Wade creates altarpieces, shrines, and memory jugs out of found objects.