Joan Brown resented the easy commodification of her work, and the incessant demand for her to create something just so others could own it.

Her art demonstrates a grasp of animal nature beyond picturesque figures in a landscape or sentimental stand-ins for human emotion.

An exhibition spanning the 16th century to the present displays pastels in all their lush, radiating color.

If painting was Mitchell’s sickness, it was also her salvation.

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

The latest volume of af Klint’s catalogue raisonné reveals the artist exploring the spiritual world with quasi-scientific deliberation.

Imagine if Berthe Morisot had been known as Berthe Manet.

In the author’s latest book "In the Land of the Cyclops," I want to see what Knausgaard sees, even when I’m overwhelmed by it or disagree.

Prosaic and profound, Horn’s book "Island Zombie" feels like standing before art again.

Roxana Robinson’s biography of the artist features letters from a young O’Keeffe to a lover, which offer some unexpected art historical insights.

The art historian Mary Garrard’s lively account of Artemisia Gentileschi is timely in its exploration of her art which was composed of anger, accusation, and even humor.

“If the world is to be saved, it will be the women who save it,” said the American Impressionist, who led a headstrong life as a woman abroad.

Emily Mason remembers her mother saying, “I’ll be famous when I’m dead.” Though fame may not be quite secured (yet), the artist’s first-ever monograph acts as bulwark against forgetting her legacy.

California has a rich history of artful book making. Here’s a small sampling of presses old and new.

Artist and scholar Stefano Bloch has written a story that is personal, but also a primer on graffiti’s history and artistic and social import.

Fein, who turns 100 years old today, may be the last Surrealist artist still standing.

The title of Great Women Artists is complete with a strikethrough across “women,” to indicate that the artists within are “great artists” regardless of gender. Visually, it’s arresting, but its intention is murky.

The show is essentially a love story, arranged both chronologically and thematically, and unfolds almost like a serial novel. A precursor to Proust, say, in paint.

The results are arresting, as the writers, who are also men in prison, make anonymous images their own, speaking out of their own experiences, bringing insights and empathy that no outside critic or art historian could.

The previously unknown Polaroids of April Dawn Alison were not just snatched from the jaws of oblivion, but are now in an esteemed museum collection.

Much of Rubens’s Baroque bravura feels timely in its grappling with violence, terror, power, sex, and coercion.

For It Speaks to Me, Jori Finkel asked 50 artists, from Marina Abramović to David Hockney, “to discuss a museum piece that intrigues or inspires them from their hometown.”

When an unexpected opportunity arose to spend her year living in the famed Palazzo Rucellai, Allison Levy seized on it.

What struck me most in moving through the arc of Lacy’s career is what varied and thoughtful work she’s produced decade after decade, no doubt the result of her preference for collaboration.

Lesbian contributions to gay life and liberation have long been overshadowed, including in the art world.

Jean Frémon began his book Now, Now, Louison while the artist, who was also a friend, was still alive.

Knausgaard's monomaniacal excavation of the self and soul probably finds its closest counterpart in the work of Munch, his countryman.

Joshua Rivkin, a poet himself, passionately admires Twombly’s art and feels compelled to understand the man who made it.

An exhibition at the San Francisco Museum of Modern Art illustrates how, over time, Munch moved away from observational painting toward something more symbolic and emotional.