This week, seeing Caravaggio, the new Princeton Art Museum, Judith Butler on JK Rowling, white supremacy and classical music, the QAnon threat, and more.
Although Brakence is not the only Gen-Z singer-songwriter to play with noise and distortion, few so gleefully enact the violent collision of forms.
In Wite Out Linda Norton seeks the words to envision relationships not shaped by hundreds of years of white supremacy.
Writing a global art history demands that we give up historical thinking.
Out, proud, and unabashedly homoerotic, the gay artist’s iconic imagery has become an international symbol of freedom.
Suzan Frecon insists that art is a wordless experience, that paintings invites us to a plane beyond understanding.
There is a coolness to the way Park paints her figures, as well as a sculptural attention paid to form and surfaces.
In this two-part conversation, two of the leading activists in the New York art community talk about their lives, work, and what’s next.
The European Union is looking to the influential modernist movement as a model for a new, climate-neutral architecture.
With Bloom, Trevor Paglen collapses distinctions between the real and virtual, laying bare the prejudices embedded in supposedly objective artificial intelligence systems.
Emerging technologies used for chemical and isotopic analysis combined with new archaeological discoveries are uncovering the sources, craftsmanship, and long-distance trade of the delicate commodity of “Alexandrian glass.”
The first major retrospective of the free jazz icon’s multidisciplinary work is on view from September 26, 2020, until January 24, 2021.