Arts

“Having more light and space immediately allowed me to make larger work, which I didn’t even know I had in me.”

This week, Abercrombie’s comeback, Marvel Cinematic Universe’s downfall, Moby Dick emojis, “survivor” trinkets at the Titanic Museum’s gift shop, and more.

An exhibition at the National Gallery of Art makes the case that textiles are an integral part of modernist art history.

In Picturing the Border, intimate works by 12 photographers urgently visualize the nuances and coexistent contradictions of US-Mexico border identities.

Knowledge, visual perception, and the disruption of both by new technologies are at the heart of artist’s multimedia paintings.

More than 145 arts venues will open their doors with exhibitions, open studios, free programs, and more, from a mermaid parade to a hot dog garden party.

From a Christmas-themed show to a window exhibition at Chinatown’s oldest running shop, this hot month is full of surprises.

Suturing the Border shows how an international group of artists built relationships along this nebulous zone dividing Mexico and the United States.

While cultural critics slobber over the former president’s media savviness, meme-makers are here to burst their disingenuous bubble.

Milroy begins his paintings with direct observation but ends up someplace that I cannot name.

A survey at Gropius Bau frames Holt as an artist committed to the human body’s actions and dimensions, and its perceptual and cognitive boundaries.

Dog Days of Summer, a group exhibition devoted to our darling companions, explores humor, adoration, fidelity, and companionship.

The decorative allure of Scott’s textile and beaded creations seduces viewers into her sharp critiques of racism, misogyny, and other social ills.

Do White guys who say “inshallah” think they just fell out of a coconut tree? And much more.

“The best part of my studio is sharing it with a fellow artist.”

As images of violence have become more ubiquitous, it’s a devastating testament to Kollwitz’s artistry that her works are still so moving.

An exhibition relishes in the opulence of the objects produced by Dutch globalism while disingenuously acknowledging its destruction on unpictured shores.

These artists from the Democratic Republic of Congo, Peru, Sudan, and Palestine use soil as a different kind of building medium in their works. 

The bi-monthly variety show gathers both newcomers and veterans of the craft to help participants discover “the power in cringe.”

The tension between moments of quiet joy and inevitable calamity in Gu’s ethereal portraits is riveting.