The Musée des Beaux-Arts de Rouen’s display of artists living and working independently, but together, reinforces the modernist commitment to internationalist values.
A sweeping retrospective at the Centre Pompidou surveys the work of the Romanian-born artist who founded the avant-garde Letterism movement in 1940s France.
Van Gogh, Starry Night degrades the work of the daring painter while underusing the awesome powers of immersive digital technology.
Kamel Mennour Gallery highlights the enduring power of chiaroscuro by pairing a long-lost Caravaggio masterpiece with a shimmering site-specific installation by conceptual artist Daniel Buren.
Revolutionary Generation: French Drawings (1770-1815) from the Fabre Museum illustrates how, as the Rococo movement went out of fashion, France’s insurrectionist artists drew on ancient Greek and Roman art for inspiration.
In her new book, The Love of Painting: Genealogy of a Success Medium, critic Isabelle Graw ruminates on how painting remains omnipresent within the contemporary capitalist system and digital economy.
Enacting a posthumous reassessment, the book Percy Rainford: Duchamp’s “Invisible” Photographer has poignantly rescued the neglected artist Percy Rainford from erasure.
In the 1980s I religiously read Indiana’s weekly, polemical Voice dispatches in which he described the ills of US society from the point of view of an energetic, radical, gay critic absent art bona fides.
Duchamp’s Last Day is a bravo performance capturing the ephemerality of life and the physicality of art.
Once relegated to academic footnotes as a bemusing curio, Jean-Jacques Lequeu is finally being fully recognized for his cheeky and dazzling drawings.
Through his father, Wallace, Tosh Berman was in the middle of a vivid circle of artists, writers, and musicians who regarded art as the opposite of cultural business.
His images of towering women and mind-bending vegetal forms, found many audiences through theater posters for Sarah Bernhardt and rolling papers.