What if you could escape the pains of daily existence by transforming into a goat?
The exhibition proposes two core questions: Is this type of city compatible with the needs of its inhabitants, and is this kind of anonymous and automated policing comparable to public administration and democratic politics?
It’s early enough in my career that I still get a thrill whenever I see my work shared online.
SULZANO, Italy — I decided to make the journey from my home in Rome to Sulzano in northern Italy to judge the merits and pitfalls of Christo and Jeanne-Claude’s “Floating Piers” — an almost two-mile long floating walkway situated on Lake Iseo — for myself.
At the end of Vladimir Nabokov’s poem “Pale Fire,” he describes how “White butterflies turn lavender as they / Pass through its shade where gently seems to sway / The phantom of my little daughter’s swing.”
PHNOM PENH, Cambodia — Somewhere in the city, there are white Mercedes Benzes, peace signs, and hearts floating up into the sky.
Pablo Picasso and Henri Matisse were the 20th century’s greatest artistic frenemies.
PARIS — Henri Rousseau is art history’s best-known naïf painter.
Last week two friends and I hiked the Devil’s Path in a day.
In Laura Lima’s current exhibition at the Institute of Contemporary Art (ICA) Miami — the Brazilian artist’s first solo museum show in the US — a braided, blue industrial nylon rope snakes through the building’s massive atrium, crawling over its white columns and beams to form an imposing, tangled web.
To get to Y Gallery in Manhattan’s Lower East Side, you have to climb five long flights of rickety stairs.
In August, a pair of architects will move into their new home in Rotterdam. Its rising walls are built of tan-colored bricks that, to the eye, seem like your typical building materials, but they are actually made entirely out of waste.