The documentary Lifeline recounts Still’s life, career, and legacy — and how they were shaped by his cantankerous temperament.
In the 1930s, Still co-founded the Nespelem Art Colony, through which he and other faculty and students observed a precarious Indigenous community in Washington.
Murray’s sculpture develops a unique perspective, despite synthesizing many aspects and themes of contemporary sculpture emerging from New York in the 1960s and 1970s.
Shoreline Project is the commissioned work of art for Art & Nature, a multidisciplinary exploration of art’s engagements with the natural world.
Given his red-dominated palette, I don’t think it is implausible to suggest that one of Frank Holliday’s subjects is conflagration — a world consumed by fire.
Diane Burko’s images of melting glaciers and dying coral reefs are not just pictorially impressive; they have strong emotional impact.
Maria Bussmann’s elusive drawings acknowledge the impossibility of fixing philosophical terms in imagery, like bugs in amber.
This week, choosing ethics over aesthetics, Barnett Newman paintings in Amsterdam, shocking immigrant detention photos, Presidential logos, and more.
The media almost always overlook what is truly interesting about fakes: not who made them, who sold them, or who was in on the scam and who was not, but what they tell us about art and those who produce it.
Judd hated the cult of the artist.
The summer hues of coastal Massachusetts deeply influenced Frankenthaler; its landscapes and seashores would become her muses for more than a decade.
Willem de Kooning and Jackson Pollock considered Hyman Bloom to be America’s first Abstract Expressionist, a label, it should be pointed out, that the artist himself rejected.