I had questions for Pepper, but I arrived too late.
Interjecting the power poses of Western art history with heroic Black revolutionary figures from the Caribbean, Barontini’s work manages to be seductive yet also ceremonial.
In Soles of My People, Khari Turner channels elements of Midwestern waterways into figures awash with global histories of triumph and struggle.
A writer reflects on Giotto, St. Francis, and what it means to have faith amid a pandemic.
More than 40 textile works dating from the 1950s to her death in 2007, at age 100, float in the artist’s retrospective at the John Michael Kohler Arts Center.
William-Adolphe Bouguereau’s Belle Epoque paintings suggest that anything can be bought as a balm against the harsh conditions and human expense required to build America.
Can the terms of the art world really change from competitive creative genius to notions of collective power and proximity?
Nathaniel Quinn’s first museum solo show features work which suggests that reality might best be recognized by its disjunctions rather than by single-point perspective.
Overshadowed in her lifetime by her famous husband, Max Ernst, the American painter gets a major retrospective in Madrid.
Outdoor sculpture should not be an addendum but an interruption, an incongruity, a hole piercing the day’s fabric.
How interesting that William Kentridge envisioned the cage as the equivalent of a piece of luggage or a goat, something that we cannot leave behind.
CHICAGO — When he studied art history in the 1970s in Los Angeles, Kerry James Marshall was struck by the absence of black artists in the “canon.”