In Vermeer’s paintings, the world is much larger than we imagined and yet somehow deep, meaningful, and magical.
Joan Brown resented the easy commodification of her work, and the incessant demand for her to create something just so others could own it.
In the work of Rubens, painter Anthony Daley finds correspondences of color that can carry expressive meanings abstractly.
Sendak’s illustrations carry weight all on their own for children and adults alike, and this book beautifully captures his prolific career.
What distinguishes Ledgerwood’s work from the earlier generation of women artists working in the domain of Pattern and Decoration is its bluntness and humor.
A small but impactful exhibition at the Utah Museum of Contemporary Art complicates questions of identity and the canon.
The semi-durational installation The Mountains Wore Down to the Valleys poetically frames the challenges of the pandemic, and more.
The 1969 exhibition 5 + 1, and now Revisiting 5 + 1, are reminders that the history of Black Art in the United States is diverse rather than monolithic.
The artist’s solo US museum debut at the Baltimore Museum of Art is a contemptuous, at times satirical, take on oppression that gives way to a new history.
Simulation Sketchbook takes as its starting point the reality that digital artists, like all artists, sketch out their work as well.
How does a selective competition fit with the contemporary art world’s aspirations toward greater inclusivity?
In this online exhibition, Indigenous artists reclaim realities long denied them by US and Canadian federal governments — including moments of collective reverie.