News
This week in art news: a trucker drove across the Nazca Lines, Lorde wore an excerpt from a Jenny Holzer piece to the Grammys, and the Manchester Art Gallery removed a Pre-Raphaelite painting in order to "prompt conversations" about museum display and interpretation.
Art
This exhibition demonstrates Van Eyck’s influence on the Pre-Raphaelite through visual comparisons which satisfyingly reveal a complex relationship between two otherwise disparate art movements.
Film
A new series at Metrograph features documentaries made by women directors — from Chantal Akerman and Peggy Ahwesh to Yvonne Rainer and Claire Simon — about women's lives.
Art
The project calls for anyone to photograph examples of hostile architecture — from spikes on windows to bars on benches — and share the images on Instagram.
In Brief
The Pavilion will be closing for renovations starting February 5 for two years, leaving locals with precious little time to explore the special space before a lengthy hiatus.
Books
In her book EUSA, photographer Naomi Harris documents Bavarian and Danish festivals in the US, Wild West theme parks in Europe, and other reciprocal cross-Atlantic cultural rituals.
Art
Puerto Rican artist Jo Cosme made a deck of tarot cards documenting the pain, decimation, and lack of support post-Maria.
News
The group, called "Los Hemocionales," protested El Eco’s programming, claiming it hasn’t lived up to its promise as an experimental institution.
Announcement
This singular non-profit organization provides valuable studio space, relatable educational programs, and exceptional exhibitions that inspire everyone, from novice to expert.
Art
Ultimately, Black Room is able to balance the personal and the impersonal, linear progressions, and dream logic.
Art
The National Center for Arts Research, which was created in 2012 by the Meadows School of the Arts and the Cox School of Business at Southern Methodist University, says museums "have the highest average number of touch points, both in-person and total."
Art
Altogether, Amy Lien's and Enzo Camacho's installation presents a disturbing view of the current state of pressures on the mother-child relationship, which can end up with material goods taking the place of intimacy.