Arts

The core message of visual analysis and close looking in Hockney and Piero: A Longer Look is an apt mantra for the National Gallery’s history.

The Harrisons’ Survival Piece #5: Portable Orchard at The Whitney is a calm and orderly response to the dystopian possibilities of climate upheaval.

A Treatise on Color: Vols. I–IV examines notions of value and emotional resonance to interrogate the influence of hue in its exploration of color. 

​Leigh’s survey split between two Los Angeles venues demonstrates the futility in prescribing a definitive role to the Black feminine in a postcolonial world.

An exhibition outlines 19th-century artist Guillaume Lethière’s connection to his birthplace, mixed-race heritage, and the politics of revolution.

Countless displays of intense and idiosyncratic brilliance are nestled in the grassy hills of the Midwest state.

Mat Winter scavenged for rarities in his early youth. It finally paid off.

Big and transformative energies are in the collective air as we enter into the coming months — be prepared.

The third edition of the free citywide event features artists including Cecilia Vicuña and Pamila Matharu.

This week, yoga and nationalism, opulent Tibetan mandalas, the environmental costs of ChatGPT, Earth’s temporary “mini-moon,” and much more.

The artist would develop a distinctly Protestant imagery that replaced sacredness with utility, functioning essentially as propaganda minister for Martin Luther.

“The experience of beginning with literally a white cube was actually very cathartic.”

A new study traces the winged leonine artwork back to the Yangtze River basin, hypothesizing that it was likely a colossal, reassembled “tomb guardian.”

The curator and scholar launched the Black Artists Archive to honor overlooked histories and affect change in the present. 

“I don’t think many people see henna as an actual art or service that is in demand or valued,” said 29-year-old henna artist Sabeen Marghoob.

The longer I sat with the artworks in David Reed’s studio, the more I felt that I wasn’t fully seeing what was there.

The artist has long been fighting for people with disabilities or marginalized identities, with sincerity, courage, and fierce love for the monsters in us all.

Paris 1924: Sport, Art and the Body sets its focus on issues that emerge from athletes being displayed as heroic on the world’s stage.

What’s clear in Now You See Us is that the artists were excluded from the canon because of sociopolitical factors, not artistic merit.

The Appearance at New York’s Americas Society succeeds in showcasing art by Asian artists in Latin America and the Caribbean without essentializing their identities.