The first exhibition devoted to Cubism in France since 1953 illustrates how the radical art movement shattered western pictorial conventions.
The works of painters Joan Mitchell and Jean-Paul Riopelle foster a dialectic between pure gestural abstraction and lyrical suggestions of the grandeur of nature.
Composer Pierre Henry’s home studio in Paris has been sold. Until recently, the walls were still covered with musique concrète assemblage sculptures and post-cubist bas-reliefs of printed circuit boards.
Cold champagne is the inspiration for 20 multi-generational, international artists to create new work displayed in the wine cellars of Domaine Vranken Pommery.
In an exhibition timed to promote the release of Julian Schnabel’s film about Vincent van Gogh, the museum juxtaposes 13 paintings from its 19th century collection with 11 of Schnabel’s works.
The Milk Bowl of Feathers shows how women’s contributions to the Surrealist literary canon captivatingly crack the wall of Surrealist phallocracy.
An exhibition full of drawings shines light on the history of the line in this artist’s work.
Like tumbled tombstones marking the graveyard of self-referential Modernism, the exhibition at the Museum of Contemporary Art in Lyon presents a remarkable set of remembrances to ponder.
As the controversial piece of art has found a permanent home, Parisians weigh in on the moral vacancy of Koons’ tribute to the Paris terror attacks, accusing it of clichéd American hubris.
The exhibition Love is like a series of loosely related theory or fiction discussions that become most interesting when they overreach to the point of self-contradiction.
A small exhibition of Wallace Berman’s Verifax collages and photographs from the mid- to late-1960s operates like music in establishing a theme and exploring it through several variations.