Some people care about money, fame, and power; we prefer to look elsewhere.
As much as we might feel that our lives are lived these days at breakneck speed, Bruce Nauman’s work suggests otherwise. “Films,” for Nauman, “are about seeing.”
Blonde is a consistent, coherent, well-crafted album, but it feels anticlimactic. It’s a retreat.
The first painting I saw in 2016 was “Cockman Always Rises Orange” (2015): we can’t say we weren’t warned.
Here’s a look at some of this year’s acts of art censorship.
Our picks for the best art shows in the world this year.
Done with that.
An exhibition at the Canadian Center for Architecture uses the example of Franz Wilhelm Junghuhn, who between 1836 and 1848 climbed more than 40 of Java’s volcanoes, to question man’s relationship to the landscape.
Feeling defeated by 2016, I went to Standing Rock seeking a post-Trump formula for resistance. What I found was far messier than what I expected, but no less practical.
This week in art news: Yoshitomo Nara was sued by a cosmetics company he claims copied his work, a Henry Moore sculpture was installed at Columbia University despite students deeming it a “monstrosity,” and India began construction on the world’s tallest statue.
Pan Am: History, Design & Identity, a new book by Matthias C. Hühne, retraces the distinct design history of the defunct Pan Am airlines.
Hedieh Javanshir Ilchi, “Caress my darkness, liminal lover 3” (2016), acrylic and watercolor on panel, 30 x 24 in. (all images courtesy of Hemphill Fine Arts) “Caress my darkness, liminal lover” is the title of three paintings by Hedieh Javanshir Ilchi. Each depicts a brimstone hellscape speckled with cypress trees, plumages of seafoam-colored cabbage, and […]