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.
This week, feline cinematography, two writers on Salman Rushdie, your guide to Valentine’s Day cards, and what happened to the documentary industry?
A new exhibition at Manhattan’s Center for Italian Modern Art looks at the cross-pollination between avant-garde art and commercial posters in post-WWII Italy.
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.
LA-based artists Julie Weitz and Jill Spector are reimagining the traditional Jewish garment to include a wide spectrum of identities.
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.
Who tells a tale adds a tail: Latin America and contemporary art explores contemporary Latin American art without conforming to external expectations.