Lincoln Kirstein’s Modern takes a close look at a period when patriotism was distinct from nationalism, populism did not equal demagoguery, and left-wing radicalism was the coin of the aesthetic realm.
Through his father’s profession as a corrections officer, Pat Phillips has found a pictorial strategy for probing the racial chasms of the justice system, and by inference, everyday life.
Tracing Egon Schiele’s lineage, forward and backward in time.
Two exhibitions in Vienna take on the fragility of democratic structures.
If Lawler’s works were originally read as art about art, they now feel like art for art’s sake.
The creation and interpretation of art remains an anchor and a refuge, a sanctuary for vanishing ideals.
Walker’s installation “Virginia’s Lynch Mob” evokes a latter-day Saturnalia, turning the world upside-down.
After Safariland, if you need to convince yourself that the art world isn’t entirely in money’s thrall, you’d want to be anywhere but here.
Pontormo’s figures, though illuminated in godliness, are invariably human in their proportions and hushed in their emotions.
Barlow’s sculptures may be abstract, but they feel rife with heads, teeth, legs, and orifices of every stripe.
Metaphysical Painting offered a philosophical refuge for Italian artists shaking off their Futurist sugar high.
Subpoena powers can’t cure a diseased body politic.