This week, a newly authenticated van Gogh, critics hate Thomas Heatherwick’s “Vessel,” US soft power and the literary avant-garde, National Museum of the American Indian’s magazine is available for free online, and more.
Assume Form is Blake’s first album to acknowledge his status as a pop presence, but it also feels like an attempt to broaden his range, to correct the way he became associated with generic melancholy.
Although it is very early in Jule Korneffel’s career, she has moved into a territory where color and materiality outweigh discursive content.
In an art world that celebrates the work of Raymond Pettibon, it seems to me that Steinberg deserves another look.
Today, more than 100 million copies of Pamela Colman Smith’s Tarot card designs, the Rider-Waite-Smith Deck, are in circulation in over 20 countries, making it the most popular set ever made.
In Evan Fugazzi’s paintings we are given the pleasure of experiencing how each color helps to define the others.
The most shocking thing about Sarah McCoubrey’s paintings is their startling and deeply unfashionable, unapologetic beauty.
Depraved, a soulful indie take on Frankenstein, proves the perennial relevance of Mary Shelley’s monstrous creation.
The activist organization, which demands the removal of Whitney vice chairman Warren Kanders from the board, gathered at the museum to protest alongside activists from the 30 groups that have come out to support its mission.
Reed’s remarkable career, which tells the story of Bauhaus and Black abstraction in the 20th century, is more significant than ever.
The announcement follows a similar decision by Tate, announced yesterday, that the institution will no longer accept funds from the Sacklers, owners of Purdue Pharma.
The work of cut paper by Georgia Russell might be a vision of what I fish would see as it lays gasping for breath in the bottom of a net.