The letters between Taeuber-Arp and her patroness, Annie Müller-Widmann, show the usually invisible tending that goes into an artist-patron relationship.
Schloss challenged the concept of the lone genius toiling in his studio, instead framing this cohort of artists as neighbors and friends.
In 1962, Andy Warhol desperately wanted to be like his accomplished new pal, Marisol.
Designing Motherhood includes over 100 objects spanning medical devices to depictions of laboring women in films.
Hannah Wilke is part of an elastic history of bubble gum-as-art that started before her and continues to this day.
When Labille-Guiard exhibited the portrait at the Paris Salon, it was the only woman in the series. And she was breastfeeding.
A new project is researching how Soviet-era plastics were made and used.
Miller didn’t plan to photograph gowns and handbags as bombs rained from London’s skies.
A new book compiles unstaged public photographs by 100 artists of all ages, hailing from 31 countries spanning Ghana to Iran.
Mason’s expansive Chelsea studio became her tuning fork — the barometer she used to check that colors and shapes were humming at the right frequency.
The veteran photorealist painter talks to Hyperallergic about her work and her new film biography, Queen of Hearts.
Partly thanks to Carriera’s skill and clever marketing, pastel portraits became one of the most popular art forms of the Rococo era.