Among Fontana’s least-known works, the Spatial Environments feel like the pieces that can allow for a better understanding of the depth and breadth of the artist’s practice, which is too often solely associated with the famous cut-up paintings.
Thomas Ruff’s photographs question history, art making, and the medium itself.
Karol Radziszewski began his art publication DIK Fagazine in 2005, and has since delved into the little-known queer archives of former Soviet Union countries.
Francesco Vezzoli has delved into the archival material of Radiotelevisione Italiana, shaping a narrative of the culture, politics, and entertainment of the period.
Countless exhibitions in the capital are stuffed full of art like a trussed turkey.
A current show of Hal Fischer’s photography at Project Native Informant confirms a renewed interest in gay life in the 1970s.
On the occasion of publicly showing her private collection of work by women artists, Valeria Napoleone talks about why such a display is necessary.
The Whitechapel Gallery has recently commissioned the feminist collective to create a new artwork that resurrects the 1986 Guerrilla Girls campaign “It’s Even Worse in Europe.”
Designed to attract artists, actors, and musicians, Green Rooms offers affordable accommodations at a discounted rate to any creative.
The art organization Artangel has invited visual artists, writers, and performers to respond to Reading Gaol’s most famous inmate, Oscar Wilde.
NAPLES, Italy — “I don’t care if Monday’s blue,” sang the Cure. But French artist Camille Henrot seems to care a great deal.
LONDON — “Have you seen Betty? She has big boobs! She has disappeared!”