The stunning candor of George W. Bush’s new paintings establishes his reputation as a 21st-Century Goya, capable of uncovering the humanity in monsters.
Drawing on many genres and styles, Vo meditates on history, freedom, love, faith, and death.
An exhibition at London’s V&A captures the dance in life’s stillness and the stillness in life’s dance.
Overstreet keeps his references to his African-American heritage and Native American influences oblique.
The nonprofit space, in the Boyle Heights neighborhood of Los Angeles, was the focus of anti-gentrification protests and boycotts by local activist groups.
Selfies — which have been critiqued as symbols of narcissism and celebrated as examples of defiant self-representation — are now receiving the museum treatment.
The City Without Jews was once considered lost forever. But in 2015, at a flea market in Paris, a collector unexpectedly discovered a complete copy of the film.
Mocking the various pop-up museums opening in Los Angeles, Andy Bauch launched a satirical website for an “interactive” museum of cardboard and rocks.
The Peabody Essex Museum is looking a little more inward in its efforts to build its audience — at its own exhibition design practices, and then, even further inward, at human cognition.
The discussion will be held on Wednesday, April 18th, at 7pm.
Ava DuVernay’s sci-fi blockbuster follows its characters from a verdant world right out of a Hudson River School painting to a glowing space worthy of James Turrell.
The inaugural biennial questions how we define the city margins by presenting the work of artists who call the eastern edge of New York City’s largest borough home.