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.
Kilgallen presses us to acknowledge our superficial judgements, specifically of women, and compels us all to see more deeply.
Tenzing Rigdol enters a political debate that is disruptive, slippery, and without comparison in Tibetan contemporary art.
While American collections of East Asian art have grown tremendously, the specialized conservation laboratories that maintain these collections have not.
Enrique Martínez Celaya distills how the concept of “the boy” changes with judgement and time, just as painting itself is linked to materials and history.
The US government attorney supports 18-month sentences and fines for the accused, but in many ways the damage is done, casting both real and fake Native American artworks into doubt.
Curious if the monkeys’ memory of snow remained decades later, artist Shimabuku brought a pile of it to the desert.
Brigman portrayed her nude body, significantly scarred from an accident, often lodging herself within a gnarled juniper tree deep in the Sierra mountains. Her photographs are remarkable.
Tara Donovan’s art is not a metaphor, it is not about identity, and it is not historical. So what is it?
Most competitors this year chose their earliest acquisition or one of sentimental value.