Andrei Konchalovsky’s film depicts an artist full of ambition, paranoia, loathing, and regret.
The most incandescent of invectives now feel like simple statements of fact.
Every individual loss carries the resonance of collective loss, the ripple of disappearance.
The hope now is not for this to end well, but simply for it to end.
Sanja Latinović’s “Abandoned” pierces our self-protective veil with a glimpse of COVID’s raw truth.
MoMA’s recognition of modernism’s multiverse, alongside artist-led drives for greater transparency on the part of museums and their boards, brought a twinge of optimism to the close of the year.
Marini’s membership in the Fascist Party is something that will cling to him, despite his self-exile to Switzerland and the anti-imperialist tone of his postwar work.
With ATOMIC, her new body of work, Patricia Satterlee pitches us into abstract apparitions of heaven and hell before pulling us back to earth.
Pete Schulte’s drawings at first seem to be easily apprehended and quickly digested, but they demand a deeper reflection on choices and motives.
Nancy Princenthal’s Unspeakable Acts delves into the links between violence and silence, art and terror, and how pioneering women made them into art.
The paintings of Kenyan artist Michael Armitage present a particularly resonant response to the expanded, repackaged, and redefined offerings at the reopened MoMA.
Doyle’s sculpture offers an opportunity to contemplate the beauty of pure form, but without a hint of nostalgia.