In Ojih Odutola’s conception of the world, its inhabitants never fell — not from divine grace, not from political autonomy, and certainly not from self-regard.
In the 1960s, a museum secretary noticed a discrepancy in the institution’s record-keeping of loaned artworks; her boss gave her a Klimt drawing to keep her mouth shut.
The life of the artist as parent makes you realize how few hours there are in the day.
A troubling cartoon in the Albuquerque Journal takes the perspective of the surveillance state, when it ought to examine the state itself.
In Written on Skin, currently playing at Opera Philadelphia, an illuminated manuscript artist gets involved with his patron’s wife.
Adding blocks of primary colors can really put the life back into old houses, shops, birdhouses, construction sites, and even parking garages and garbage sheds.
In a time of bald-faced white supremacy and discrimination, the Nebraska exhibition Monarchs feels vitally relevant.
This week in art news: the Hirshhorn Museum postponed a projection by Krzysztof Wodiczko in the wake of Douglas High School shooting, President Trump proposed eliminating the NEA and NEH (again), and Robert Indiana’s repainted “LOVE” returned to Philadelphia.
Challenging art is essential for sparking difficult conversations, but two museum directors — both women — have recently stepped down after championing politically engaged programming.
Xiaoze Xie’s humble books and photographs are quiet survivors that still hide in the shadows even when they are bathed in museum light.
An exhibition revisits the life of the last European woman to be executed for witchcraft.
An intruder in a green sweater “appeared to break something off from the Cavalryman’s left hand and put it in his left front pocket.”