This week, Ferguson, David Hockney and the avant-garde, Francis Bacon’s “missing” exhibition, art in a mall, Persian calligraphy, naked in a Yves Klein sculpture, the infamous 19th-century “Ape Woman,” and more.
Recently, Cliff Bar announced the termination of its sponsorship of five professional rock climbers.
Currently on view in the exhibition Jasper Johns: Sculptures and Related Paintings 1957–1970 at Craig F. Starr is “Book” (1957), a work I suspect many people either don’t know about or are not likely to have seen, even in reproduction.
If Shabazz Palaces are the future of rap, as their label claims, then rap is bound for obscurantist whimsy — inventive and engaging though their records are, these proud bohemians have reached such a rarefied level of willful avant-garde perversity that it can take forever to hear how their musical elements fit together.
Sam Lewitt is a young artist in a hurry. He was barely out of his twenties when he scored the 2012 Whitney Biennial, and right now he is filling both outlets of the Miguel Abreu Gallery — the modest space on Orchard Street and the immodest one on Eldridge.
A secret message encoded in a sculpture at the CIA headquarters in Langley, Virginia, got one step closer to being solved last week.
This week in art news: A Cezanne catalogue raisonné was published online for public use, a brutalist structure is to be converted into an arts center, and a watercolor by Adolf Hitler sold for $161,000.
In 1995, Cándida Fernández de Calderón embarked on a remarkable expedition to support Mexican folk art.
There is significant evidence that illicit antiquities trading contributes to paramilitary funding. It does not happen everywhere, all the time, but it does happen.
James Richards, a landscape architecture professor at the University of Texas at Arlington, finds anecdotal proof in the life of Ernest Hemingway.
Photographer McNair Evans’s faith in his father was rattled when the patriarch died and the secret of the family agricultural business being near insolvency was revealed.
It’s rare that architects have the opportunity to design a building for a UNESCO World Heritage site — much more so for one recently devastated by cultural destruction.