Following cogent survey of the modern art museum’s history, The Art Museum in Modern Times turns to a challenging discussion of the present problems of modern museums.
Lydia Goehr’s Red Sea–Red Square–Red Thread is so ambitious, so original, so detailed, and so poetic that it transcends mere commentary and becomes itself a distinguished contribution to philosophy.
What’s difficult, perhaps impossible, to show in art is the experience of what passes beyond all comprehension.
Thomas was a major artist who in her lifetime was unjustly denied the acclaim she merited. This show is a brave beginning.
For Lewis, a first-generation Abstract Expressionist, working with black seemed to open up his art.
Judith Bernstein is a great artist whose boldly original paintings forcefully respond to the troubled life of our present culture.
The problem with many of Kandinsky’s abstractions is that they don’t offer enough immediate visual information to “crack” his expressive code for color and form.
Does an attempt to lift up the art of Marisol backfire?
Gorchov is an artist whose best pieces are purely aesthetic and totally present, here and now.
With Afghanistan’s “war rugs” a traditional art form was updated in response to the country’s brutal invasions by other nations.
Jackson’s exhibition The Land Claim began an extensive dialogue with local Indigenous, Black, and Latinx families on Long Island’s East End.
Taylor’s paintings emphasize that golf and horse racing, though once exclusively activities for privileged white men, depended on the support of men who were almost invariably Black.