Careful and yet compellingly fresh in its approach, Painting by Numbers offers a new kind of methods book.
It turns out that we Homo sapiens are not the only species to explore art and its abstractions.
In darling divined, Brackens teases out the symbolism, allegory, and parable long associated with global cosmologies of tapestry weaving.
Concise, pithy, and accessible, Susie Hodge’s The Short Story of Women Artists introduces readers to artists forgotten and obscured, many of whom are now rightly being reassessed.
By every measure, Eileen Gray ought to be as well-known as her Modernist male contemporaries. An exhibition at Bard’s Graduate Center offers a smart correction to the historical record.
Once the official sculptor in the court of the last Habsburg king, Luisa Roldán is easily the most famous sculptor you’ve never heard of.
speechless: different by design is unrelenting in its demands that visitors interact with the exhibitions.
The exhibition Illuminated Earth asks audiences to consider not only Hood’s dynamic and commanding murals as the thought-provoking pieces they are, but also how artistic legacies are made and remade over time.
One of the most evincing themes in Mechanisms of Affection is how easy it is for computers, digital spaces, and technology writ large to be anthropomorphized.
Lily Cox-Richard questions — and successfully subverts — a long-held association between the aesthetic qualities of classical sculptures with physical whiteness.
Maps drawn by Indigenous artists at the behest of the Spanish in the 16th century illustrate the amalgamation of visual traditions during the early years of contact between Indigenous groups and colonizers.
Copies, Fakes, and Reproductions challenges viewers’ assumptions that “copies” must be “fakes” and therefore “bad.”