This week, a new biography of Carleton Watkins, Noam Chomsky on the State of the Empire, Mac Collins’s afrofuturist chair, Brian Acton spilled the beans on Facebook, and more.
Bradford’s new paintings represent a significant departure from her previous work, which gained many admirers, myself included. Simply put: she has gotten much better at getting at difficult subjects.
For Finlay, the garden was not simply a place of beauty, but rather a liminal space bordered by nature and culture, where visitors are invited to meditate on the different ways time passes.
Without resorting to parody or cynicism, Staver undoes the tropes we associate with depictions of heroic and mythical.
The President’s hand size becomes a full-blown social meme obscuring the true downsizing of government.
Colter Jacobsen is an artist whose methods, thought processes, aesthetic, and values accord with many poets and their work.
Cover albums reveal something about the evolution of shared taste and cultural memory.
The last great artist who was not a modernist, Delacroix synthesized very complex visual and verbal traditions in stunning works that open the way to modernism.
Kader Attia’s new solo exhibition in Barcelona reminds us of the permanence of scars as well as our ability to heal.
A quiet exhibition conveys a unique vision on the outsider’s place in American society.
In What It Means to Write About Art, famous critics put into print parts of their story they’ve never revealed to the public before.
The estate alleges that certain imagery in Luca Guadagnino’s film Suspiria constitutes copyright infringement, being directly derived from some of the artist’s works.