The suspension follows last week’s announcements that the Guggenheim and Tate will no longer accept funds from the Sackler family.
Spend summer or fall in the Canadian Rocky Mountains at an artist residency or symposium for professional artists, curators, and arts researchers.
On view at MIT List Visual Arts Center, artist Kapwani Kiwanga’s Safe Passage features powerful meditations on antebellum “lantern laws” and The Negro Motorist Green Book.
Celmins’s images of oceans and galaxies are powerfully personal and intimate, even if they are mysteriously deserted and distant.
A Woman Looking at Men Looking at Women at the Museum Susch suggests that letting women be multivalent is a critical piece of letting women be seen.
This week, a newly authenticated van Gogh, critics hate Thomas Heatherwick’s “Vessel,” US soft power and the literary avant-garde, National Museum of the American Indian’s magazine is available for free online, and more.
Assume Form is Blake’s first album to acknowledge his status as a pop presence, but it also feels like an attempt to broaden his range, to correct the way he became associated with generic melancholy.
Although it is very early in Jule Korneffel’s career, she has moved into a territory where color and materiality outweigh discursive content.
In an art world that celebrates the work of Raymond Pettibon, it seems to me that Steinberg deserves another look.
Today, more than 100 million copies of Pamela Colman Smith’s Tarot card designs, the Rider-Waite-Smith Deck, are in circulation in over 20 countries, making it the most popular set ever made.
In Evan Fugazzi’s paintings we are given the pleasure of experiencing how each color helps to define the others.
The most shocking thing about Sarah McCoubrey’s paintings is their startling and deeply unfashionable, unapologetic beauty.