Considered the Father of the Happening, Kaprow started off as a painter whose work reflected a Cubist-inspired, pre-AbEx aesthetic.
Golub’s paintings cast the West’s Greco-Roman heritage not as a reflection of reason and order, but as a manifestation of its latent savagery.
A year of truth-telling and electric painting.
After destroying everything he owned in 2001, Landy seems to be rushing to fill the vacuum.
In the new exhibition Kiefer Rodin, Anselm Kiefer draws a straight line between himself and the grand old man of French sculpture.
Daniel John Gadd is Elizabeth Murray’s spiritual heir, with a difference.
The Met’s new exhibition presents Michelangelo not as a demigod, but as a student, a thinker, a teacher, and a friend.
Ardent Nature: Arshile Gorky Landscapes offers an in-depth exposure to the artist’s personal flowering after spending years at the altar of Cézanne and Picasso
Savinio’s adulteration of old and new was highly influential in the postmodernist revolt against the strictures of formalism.
In the exhibition Excavations & Certainties, Theresa Hackett’s paintings and Shari Mendelson’s sculptures interact with a transcendence that turns the installation into its own immersive entity.
A half-Italian, half-French Sephardic Jew, Modigliani was a cultural mixed bag from the get-go.
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.