Prompted by his friend André Breton, Alberto Giacometti first read de Sade in 1933, and his studio notes ruminated on seduction, idolatry, and fetishism.
Who is this nameless woman whose first (and last) breaths were drawn nearly 90 years ago?
A retrospective at the Guggenheim presents Giacometti as one of art history’s great vanishers of women.
Tate Modern’s retrospective of the Swiss sculptor, which gathers some 250 pieces, highlights his multi-pronged process and sustained work in plaster, wood, terracotta, oil paint, and more.
If I could, I would give this layered, richly human (and often tear-inducing) work my own private Golden Lion, inventing a new category: Best and Most Meaningful Work in the Exhibition.
January 1 was Public Domain Day — here’s a look at artists whose work is leaving copyright behind this year (although not in the United States).
World War II signaled the death of figurative art, or so the High Modernist narrative once contended.
PARIS — Where the newness of art comes from (when it comes) is something of a conundrum.
On this week’s art crime blotter: Jonathan Meese acquitted in Nazi salute dispute, Picasso works disappear in transit, and Charles Saatchi sues Saatchi Art for Saatchi name.
After excavation, ancient artifacts embark on an afterlife of interpretation. From Ancient to Modern explores how the archaeology of Mesopotamia reflected fashions and academia of the 1920s and 30s, and influenced contemporary art.
The exhibitions that rippled through our cultural fabric over the past year, at least those occurring in and around New York, have registered the predictable number of highs and lows, though 2014 did manage to plumb one nadir unlikely to be matched for a good long time.