Ghenie’s paintings of Marilyn Monroe are a relentless representation of a howling, turbulent tragedy, a face broken into crude sideways slewings and gougings and gorgings of paint.
Suzanne Jackson’s paintings come to life, and find their way home, at the Arts Club of Chicago.
Join the New-York Historical Society on December 9 for a virtual conversation with Kellie Jones, Rujeko Hockley, and Cameron Shaw on the past, present, and future of Black art in the US.
The exhibition sold the highest number of tickets in its 127-year history.
What feels like the right way to write about Roman Catholicism, or Christian iconography, to most art critics is heavily influenced by museum discourse, which is far from neutral.
The unique MFASA at the Institute of American Indian Arts offers mentorships with world-renowned Indigenous artists, flexible schedules, and access to one of the US’s cultural capitals.
A group exhibition at the Americas Society investigates ideas of paradise, approaching the Caribbean region as a product of the visitor economy regime.
Visual artists who incorporate psychedelics into their practices maintain a foundational understanding that there is more to reality than meets the eye.
Many in the local Ukrainian community want the museum’s name to be changed to reflect the many artworks in its collection by artists from former Soviet states.
This week, arts orgs and the war for talent, importance of house museums, the 125 most borrowed books in Brooklyn, the history of listicles, and more.
Lisa Ericson renders her real-world subjects beautifully, but the situations in which we find them are uncanny, menacing, and unexpected.