Caravaggio may have eluded a death sentence by fleeing to Malta and Sicily, but in the end there was nowhere to run.
It seems almost predetermined that the art of Sicily is rooted in the transience of life.
Sullivan’s film, The Startled Faction (a sensitivity training), is a tumbling-together of social satire, utopian feminism, and anarchist agitprop.
Jason Stopa is a historically savvy painter whose approach to Pop Formalism can cut either way, toward reflexive irony or an expanded employment of the language of paint.
The drawings of Klimt and Schiele, in contrast to those of Picasso, are graphic evidence of an artist grappling with what is directly in front of him.
Oh, What a World! What a World! brings together a diverse range of artists’ reactions to the anxiety gripping the nation.
Schiele’s hometown is commemorating the centennial of his untimely death.
Born three years after Hitler’s rise to power, the Austrian artist Bruno Gironcoli wandered a postwar mindscape of grim hallucinations and grimmer jokes.
Revisiting a painting show that “changed the art world, for better or worse.”
The soldiers are killed, and the jesters change their names.
One of the defining features of Guston’s last decade is a paradoxical faith in the elusiveness of truth.
Radiant Energy is the first exhibition to feature paintings by Gabriele Evertz, Robert Swain, and Sanford Wurmfeld, key members of this influential group.