Art
The Messy Politics of Documenta's Arrival in Athens
As documenta opens for the first time in Athens, Greek artists and anthropologists are closely observing how the German quinquennial will respond to its new location.
Art
As documenta opens for the first time in Athens, Greek artists and anthropologists are closely observing how the German quinquennial will respond to its new location.
Art
An exhibition looks at plant remedies that women have used to control their reproductive lives.
Art
This week, the story of Emmett Till's image in the coffin, New York's new copper skyscrapers, Damien Hirst is back, why authoritarians hate the arts, calorie counts for cannibals, and more.
Art
"A mask of gold hides all deformities."
Books
Quite simply, the history, not just of art in Los Angeles, but of modern American art generally will have to be reconceived on the basis of Now Dig This!, the exhibition curated by Kellie Jones, and her new book, South of Pico.
Books
From the outset of his career Bernstein has fought for a poetry of leaps and fissures, one that inhabits the space between logic and irrationality.
Art
Huckaby, who lives in Fort Worth, Texas, where he was raised, and teaches at the University of Texas at Arlington, draws people he knows: family, friends, and neighbors in the African American community: he makes the local become something more.
Art
Clements’ dedication to drawing — “the way she sees,” as she once told Susan Swenson — is registered in the shifts and jumps in perspective, and in her use of separate sheets of paper to define the limits of her focus.
Art
It was time for Donald to go to the temple.
Art
With the death of the French painter Roger Bissière in 1964, a whole chapter of Modernism, one that we could call the “Primitive Paradigm,” came to a close.
Performance
Aynsley Vandenbroucke has been exploring the relation of literary formalism to the human body in a way few writers, if any, are doing.
Art
Quicktime takes its cue from Raphael Rubinstein’s “Provisional Painting,” published in the May 2009 issue of Art in America. In the essay, Rubinstein discusses a handful of artists who seem to “turn away from ‘strong’ painting” in favor of works “that look casual, dashed-off, tentative, unfinished o