In Jumatatu Poe’s work, movements that appear classical blend seamlessly with voguing, African dance movements, and J-Sette, a style sprung out of black Southern drill teams.
Directed by Raoul Peck, I Am Not Your Negro is montage and meditation, a dialogue between the archive and the present.
In an unprecedented gesture, the museum has replaced works in its permanent collection galleries with eight by artists from Muslim-majority nations named in Trump’s executive order.
In his early, clear-eyed paintings, Henri Fantin-Latour’s subject was the reality of the observable world itself. Toward the end of his career, faithful reproductions no longer satisfied the artist.
Sohei Nishino’s maps are hellish auto-portraits, subjective representations built through fantastic repetition.
A giant homage to the most iconic Dutch modern art movement debuted today in The Hague.
What does it mean for a photograph to challenge what we know about the world and reveal new aspects of it?
Art Stage Singapore’s tagline is “We Are Asia,” but the fair’s dream of representing all of Asia’s art is just that — a dream.
Doris Salcedo is interested in replicating the indefinite, affective qualities of mourning — its weight, intangibility, absurdity, and reliance on personal associations.
A monthlong series at the Brooklyn Academy of Music chronicles two decades of films by African American women, including a slate of powerful documentaries.
This week in art news: cultural organizations spoke out against President Trump’s travel ban, art collector and philanthropist Eli Broad opposed the nomination of Betsy DeVos as US Secretary of Education, and the Library of Congress digitized 20,000 items from the papers of Sigmund Freud.