Curators and scholars have increasingly highlighted the importance of poetry to Mitchell’s art, though usually with so much circumspection that the link still remains obscure.
Since Aimé Césaire’s death in 2008 at the age of 94, as democracies devolve into autocracies, his Discourse on Colonialism remains prescient about the barbarity that informs civilization.
Barbara Guest stands apart as a radical traditionalist, committed to poetry’s clairvoyant, mythical potentials.
Murray came of age at a time when brutal circumstances coincided with buoyant Modernity.
When Michel Leiris died in 1990 at age 89 he was a canonical figure in France, mainly for having remade the genre of memoir in his own image.
Lacking formal training in art, Joris-Karl Huysmans had a knack for seizing on the unanticipated, the gritty, and the revelatory in painting.
Prompted by his friend André Breton, Alberto Giacometti first read de Sade in 1933, and his studio notes ruminated on seduction, idolatry, and fetishism.
Decades before becoming New York’s Pied Piper for nonobjective art, Piet Mondrian had established a reputation in Europe for navigating and remaking realism in his own image.
Almost 30 years after his death, the unabated edginess of Bacon’s paintings, and the dark literary sources informing them, put the lie to our self-mythologizing.
Seeing works by Congo the chimp takes us from wild aesthetic conjectures to sobering ethical dilemmas around animal agency, art ownership, and basic rights of living creatures.
By the mid-1970s, critic Thomas Hess acknowledged the critical favoritism shown to postwar male artists when he singled out the women of the Ninth Street Show as “sparkling Amazons.”
Abbott aimed her lens at so many 20th-century subjects that her photographs challenge us to rethink modernity itself.