Is it possible to revere the long illustrious history of Shakespeare in the Park, which includes fine Black actors such as James Earl Jones, while also suggesting it may no longer serve a changing city?
Something inside Clinton’s and Close’s psyche compartmentalized too much, echoing the grid of the portrait. Both inflicted far more harm than each realized.
A concert at the Cloisters shed the Met’s stuffiness, broadening what performance can be.
Neel’s approach defied the conventions of both schlocky social realism and traditional portraiture.
Viewed in 2021, Kentridge’s preference for black and white strikes as an urging to see issues of morality more clearly.
The art historical meta-narrative canonized by the Louvre Museum converts all artworks into specimens of their cultural moment. No wall tag can fix this.
Making the Met, the anniversary exhibition chronicling the museum’s first 150 years, botched several opportunities to truly reckon with its role in defining who is and isn’t included in dominant narratives of art history.
Few artists unlock the optical potential of black better than Joan Witek, whose compositions hum with subtle illusions.
In his drawings embellished with blossoms, artist Ronald Vill invites us to perceive 2020 as an exercise in defiant jubilance.
As tyranny surges in 2020, imagery of these holy ladies — on view in Gothic Spirit: Medieval Art — might offer more than first expected.
In Karen Azoulay’s mesmerizing video art, the artist and her collaborators don gem-encrusted masks and sample bits of nature.
The Young and the Evil at David Zwirner casts a light on lesser-known gay artists who rejected the prevailing trend toward abstraction.