This week, the world’s most beautiful libraries, what art can do that journalism can’t, the future of surveillance, leaving Instagram, and more.
We’re witnessing a transitional moment for the country music genre that opens up space for weirdness and experimentation.
In Emily Furr’s paintings, objects penetrate the openings of other objects, but the body is nowhere to be seen.
Billy White’s artistic kinships seem to be more personal and experiential than cultural or racial.
There is an old adage that nothing brings people closer together than discovering that they hate the same person.
Mostel perceives that drip paintings can express the scrambled feeling in your mind when you hear the federal government say that you can survive a nuclear war.
These assemblages showcase art’s power and, poignantly its limitations, to effect material transformations.
Jason Stopa is a historically savvy painter whose approach to Pop Formalism can cut either way, toward reflexive irony or an expanded employment of the language of paint.
The parties settled on a five-year contract, ratified by a 96% margin, in which employee health benefits, salary raises, and chances for upward mobility in the MoMA ranks were put forth.
When artist Banu Cennetoğlu’s “The List” was mysteriously removed from the Liverpool Biennial, some thought it could have been a mistake. Now there’s evidence that the tear down was intentional.
This summer has seen a string of racially motivated acts of vandalism across the country. Is the Negro Leagues Baseball Museum in Missouri white supremacy’s latest victim?
This week, artist studios in California, Idaho, Illinois, New York, and North Carolina.