Abbott aimed her lens at so many 20th-century subjects that her photographs challenge us to rethink modernity itself.
Though Krasner often invited art historians to interpret her work biographically, she was too resourceful an artist for those reductive readings to overshadow her art’s complexity.
Krasner’s teacher, Hans Hofmann, told her that her work was so good, you would have never known it was done by a woman.
In these paintings, as in so much of Porter’s work, American loneliness coincides with American leisureliness, often uneasily.
Fini’s art disarmed male authority and dissolved gender norms, with delicate, nude men attended by sumptuously dressed, leonine females.
Few British sculptors stood at a remove from art world trends as consistently as Frink.
Clive Arrowsmith’s photographs of Peter Gabriel spotlight a short-lived era when rock aspired to the condition of art.
Mayotte Magnus’s Illuminating Women features stage actors, novelists, artists, editors, and publishers whose breakthroughs coincided with the Feminist movement of the 1970s.
Brandt’s photographs are dense with the enigmas and silences, riddles and obscurities hidden beneath ordinary British lives.
Dishonest people, these artists, and very unfair.
Although George Dunbar and William Monaghan differ in visibility and style, they are both prodigal sons who have left this city and then returned to it.
Though officially outlawed in 1865, the de facto continuation of slavery remains a repulsive American secret.