How much of the effect is the object reflected, or the reflection of the object?
Whiteread has made two full-size structures over the course of the lockdown that suggest a candid act of emotional unburdening.
Eight shows over the course of a year loosely explore the eight chapters of Arendt’s 1968 book, Between Past and Future.”
How should we take all this buffoonery? In part, it looks like satire. But what exactly are they poking fun at?
Margaret Gainsborough was a woman who knew her own worth.
Why is Dante the Florentine still present with us 700 years after his death?
What do Emin and Munch have in common other than a burning desire to embrace, and be defined by, the miseries of life?
Looking at Yiadom-Boakye’s portraits is an act of slow discovery, the unveiling of a mystery.
In “Shaping the World: Sculpture from Prehistory to Now,” the issue crying out to be addressed is: where will sculpture go next?
A show at Tate Britain underscores Turner as the great recorder of elemental disorder and industrial pollution on the grand scale.
Abstractions, illusions, DIY concoctions, museums touting their collections, and other holiday confections.
Wallis tore up the rule book and pointed a way forward for British painting.