In the work of Rubens, painter Anthony Daley finds correspondences of color that can carry expressive meanings abstractly.
A little detail in an artwork can reveal that sometimes what is right on the surface can change our understanding of the whole.
I couldn’t in good conscience accept an invitation to an exhibition hosted and sponsored by a brutal regime.
Bill Viola’s installation at a Naples church misses the spiritual mark.
If art is power, as Farah Nayeri’s Takedown consistently shows, then how can galleries and museums successfully negotiate relationships of power?
In 1911 Matisse created “The Red Studio,” a self-enclosed world in his studio, by showing 11 earlier works of art, without the presence of the artist.
Minimalism sought to empty out narrative pictorial content. Scully’s goal has been to put it back.
Bayrle creates an art gallery version of computer reproductions of unreality. His art inhabits a world composed of repeated ready-made images.
The artists in Staging Injustice: Italian Art 1880-1917 faced a real problem: how to represent injustices and project a hopeful vision of what changes were possible?
It can be tempting to compare these historical Indian paintings with familiar examples from the Euro-American canon but that would do a disservice to these artworks, which are revelatory on their own.
Following cogent survey of the modern art museum’s history, The Art Museum in Modern Times turns to a challenging discussion of the present problems of modern museums.
Lydia Goehr’s Red Sea–Red Square–Red Thread is so ambitious, so original, so detailed, and so poetic that it transcends mere commentary and becomes itself a distinguished contribution to philosophy.