Hans Janssen’s Piet Mondrian: A Life gives a comprehensive picture of the Dutch artist’s life and character, but leaves some questions unanswered.
Annie Bourneuf’s Beyond the Angel of History brilliantly shows that the significance of Paul Klee’s “Angelus Novus” may still be hidden.
The longer I looked at Bailly’s “Vanitas Still Life with Portrait of a Young Painter” the more puzzled I became by it.
In the work of Rubens, painter Anthony Daley finds correspondences of color that can carry expressive meanings abstractly.
A little detail in an artwork can reveal that sometimes what is right on the surface can change our understanding of the whole.
I couldn’t in good conscience accept an invitation to an exhibition hosted and sponsored by a brutal regime.
Bill Viola’s installation at a Naples church misses the spiritual mark.
If art is power, as Farah Nayeri’s Takedown consistently shows, then how can galleries and museums successfully negotiate relationships of power?
In 1911 Matisse created “The Red Studio,” a self-enclosed world in his studio, by showing 11 earlier works of art, without the presence of the artist.
Minimalism sought to empty out narrative pictorial content. Scully’s goal has been to put it back.
Bayrle creates an art gallery version of computer reproductions of unreality. His art inhabits a world composed of repeated ready-made images.
The artists in Staging Injustice: Italian Art 1880-1917 faced a real problem: how to represent injustices and project a hopeful vision of what changes were possible?