The artist’s exhibition for the Taiwan Pavilion at the Venice Biennale shows how he has attempted to bring art into life.
Seung-taek Lee is one of the most fascinating and deeply committed artists of this generation.
Yinka Shonibare MBE has focused on two primary concerns throughout his career: his perspective on “otherness” and his awareness of the subtle intricacies of prejudice.
Who would have thought that Dubuffet’s “art brut” style would eventually find an affinity with the gritty, unconventional large-scale paintings Poons made three decades later?
The confidence, for Rothko, is revealed through his insistence on the presence of the light, even though it may appear absent at the outset.
A retrospective of the artist’s work at the Guggenheim Museum is worth seeing on more than one occasion, and it will probably appear differently each time.
His daring embrace of an anti-style approach opened up new potential for abstract painting.
The Irish-born, London-educated, abstract painter Sean Scully established a signature style of painting nearly four decades ago.
The terror incited by the sight of heads rolling down the plank of a guillotine one after another is difficult to conjure in the 21st century.
Sometime in late 1997, at the former site of the New Museum, I was introduced to a seemingly dejected young painter named Odili Donald Odita.
The term Dansaekhwa, or “monochrome painting,” may elude readers unfamiliar with Korean, but it represents arguably Korea’s most important art movement of the late 20th century
Liliya Lifanova’s Rumour from Ground Control is a modestly beautiful exhibition.