This week, art in shadow banking, the impact of focal length, oppressive minimalism, slave labor at the White House, Werner Herzog on Pokémon Go, and more.
“I do see myself as the heir to a vast, great, rich culture of painting — of art in general — which we have lost, but which places obligations on us.”
Richard Bellamy is one of the very few art dealers around whose name the word “legendary” floats like an aura. But how to convey what was so special about him is a nice problem for a biographer.
In her memoir, The Girl Who Fell to Earth (2012), Sophia Al-Maria, who was raised as a bicultural Muslim, says she feels like a “deep-sea diver, adjusting constantly to the pressures of […] two very different environments.”
If you should not judge a book by its cover? What about the living room you grew up in? What do its contents say about you? Does its décor reflect who you are?
Speaking very generally and just of figurative art: sculpture creates a world around itself, and painting creates a world inside itself.
Like the idiot I am, I got Grimes’s Art Angels very wrong when it surfaced last year.
TOKYO — It’s not often that a major art museum hosts an exhibition for a poet.
The lobby gallery at the Skidmore, Owings & Merrill-designed midtown office tower at 1285 Avenue of the Americas, with its partitioned walls flanked by floor-to-ceiling windows on the north and south sides of the building, is unusually well-suited for both casual and concentrated encounters with art.
DETROIT — Nancy Mitchnick’s representations of places — whether they refer to actual locations or states of mind — ricochet out into the real world, conveying a sense of how a place looks based on how it feels.
Post–World War II, architects were confident that a better life could be built, that design could improve society through efficiency and community.
At the Brooklyn Museum in June, Elizabeth Sackler read from James Baldwin’s “An Open Letter to My Sister, Miss Angela Davis.”