In this moving documentary by Cosima Spender, there are lots of unanswered questions but you can’t help but be moved by the rawness.
The portrait is a window into the life and work of the painter and gallerist Anna Walinska, who gave Gorky his first solo exhibition in New York.
A gallery show that turns the form of the grid inside out, shedding more light on this iconic 20th-century favorite.
A year of truth-telling and electric painting.
Ardent Nature: Arshile Gorky Landscapes offers an in-depth exposure to the artist’s personal flowering after spending years at the altar of Cézanne and Picasso
This expansive AbEx show is brash, irreverent, and unconstrained, just like the period it aims to express.
While the world is watching the XXII Winter Olympic opening ceremonies in Sochi, Russia, I thought it would be an interesting time to explore one of the most famous mentions of Sochi in art, Arshile Gorky’s Garden in Sochi series (1938–42).
BASEL, Switzerland — Fifty-five years ago, the exhibition The New American Painting arrived at the Kunsthalle Basel. It was the first stop on a yearlong tour that touted the work of seventeen Abstract Expressionists before eight European countries — the first comprehensive exhibition to be sent to Europe showing the advanced tendencies in American painting. All but five of the original artists from the show had work on view at last weekend’s Art Basel, where postwar American painting and sculpture dominated the halls.
This November, a new exhibition that hopes to explore the artistic boundaries and terrain of the Ottoman Empire will open at Pratt Manhattan Gallery. Titled Blind Dates, the show is the brainchild of curators Defne Ayas and Neery Melkonian, and their goals are lofty as they set out to trace: “… ‘what remains’ of the peoples, places and cultures that once constituted the diverse geography of the Ottoman Empire (1299-1922).”