An anarchic desire to undermine the art world’s institutions lends art forgers a roguish, rebellious identity that is both compelling and unsavory.
Today’s audiences are evidently more open to Mondrian and af Klint’s sensibilities than those of their time.
A little like dogs themselves, Portraits of Dogs at the Wallace Collection is a complimentary companion piece to the human story.
A new exhibition at London’s Courtauld Gallery pits Doig against artists like Cézanne, Gauguin, and Van Gogh. Does it work?
Action, Gesture, Paint is a pointed challenge to the common definition of Abstract Expressionism: White, male, American artists.
While acknowledging the horrors of colonialism, Spain and the Hispanic World also highlights the exchange of traditions and ideas.
Strange Clay at the Hayward Gallery demonstrates the conceptual and technical innovation of contemporary ceramics with riotously joyful art.
Fuseli and the Modern Woman is immensely pleasurable for the technical facility of an artist pursuing his own personal interests in an incredibly idiosyncratic style.
The exhibition Fashioning Masculinities lets men have their cake and eat it too.
So closely do Disney’s animators assimilate the sensibility of French design that on occasion their source material appears almost more Disney than Disney itself.
In Space Popular’s presentation at the Sir John Soane’s Museum the VR content does not complement the physical, but widens the gulf between art history and contemporary art making.
A Thing for the Mind takes Philip Guston’s 1978 painting “Story” as a starting point to examine the myriad ways in which this piece has filtered into the work of other painters.