In the 17th and final conversation of a series on interviews with artists, Stewart Home discusses making art about art and practicing headstands to attain altered states of consciousness.
Eliminating portraiture from her paintings and compressing the pictorial plane have allowed Holly Coulis to be more idiosyncratic, playful, convincing, and even funny.
An exhibition of drawings by the Counter-Reformation artist showcases his terrific bent towards horror.
In his works, which are all performative to varying degrees, Mentrup tests our psychological limits.
“Like Art,” a type of bright, attention-grabbing work that aims for easy acceptance by servicing screen-tap culture, is everywhere.
The centerpiece of her new exhibition at PPOW is “The Garden” (1996–98), a kaleidoscopic, room-filling installation housing hundreds if not thousands of artificial flowers under a canopy of sewn together flower print dresses.
The Metropolitan Museum’s Valentin de Boulogne show clarifies why this French follower of Caravaggio remains lesser-known, despite the leering details in many of his paintings.
At Art Basel Miami Beach, if you only look at the art, it’s an affair worth the trip, because if you want to see the newest art made in Saint Petersburg, Vienna, Barcelona, or Berlin, it’s here.
Porter’s paint handling was gestural but exacting, never fancy, and always attending to the experience of looking.
The new book Social Medium: Artists Writing, 2000–2015 over-relies on art institutions to vet a very uneven selection of writings by 75 artists.
An exhibition at the Norman Rockwell Museum tracking the drop and resurgence in popularity of narrative art raises much bigger questions than it set out to address.
Kerstin Cmelka is a filmmaker, video and performance artist, photographer, and writer in Berlin. Her investment in different mediums — contemporary as this may appear — is rooted in etymological thought, tracing back the literal meanings of “art” and “artists.”