The mind works desperately to fill the gaps in these lost stories.
Simphiwe Ndzube masterly weaves Bosch’s iconography into his macabre landscapes that reflect water scarcity.
Cultural institutions are constantly draining their talent pool and dismissing this retention problem as a woman’s issue, when it is a structural failure.
In The Language of Grief, Lee’s canvases read like a fragmentary novel, building out the story of a year through mundane bits and extraordinary pieces.
The Late Works: Clyfford Still in Maryland offers a historical pivot by focusing on the last 20 years of the artist’s life, revealing his most productive period and foregrounding work that is rarely discussed.
Despite his iconic status, unresolved questions around Qiu Ying persist.
For the Allure of Matter exhibition the curators propose “Material Art” as a useful, retroactive designation of art that has existed in China since the 1980s and continues today.
I saw The Fulfillment Center months ago, but as time passed it wore on me and I became increasingly concerned about the workers — I mean artists — and more ambivalent about the commodities — I mean art.
“It’s not cowboy art, it’s not parlor art, it is a nuanced view of the American landscape,” said one artist at the Coors Western Art Exhibit and Sale, where collectors gather see art that connects them to a person, a memory, or a community they value.
In Radical Suburbs, author Amanda Kolson Hurley argues that the failures and achievements of suburban life offer a roadmap to future sustainable and equitable housing.
Pete Gershon’s book about the Houston art community offers some simple advice: live around artists you respect and in a place you can afford to make work, even if no one buys it.
Many of the objects in Empresses of China’s Forbidden City, 1644-1912 at Freer | Sackler have not previously been available for research, have never traveled outside of China, and might not be likely to reemerge again.