The Saarinen-designed John Deere headquarters prompted O’Keeffe to create the monumental Sky Above Clouds IV in her Ghost Ranch garage.
Jarmusch and Logan’s SQÜRL — which they describe as an “enthusiastically marginal rock band” — weaves a trippy musical accompaniment to four silent films by Man Ray.
Weaving beyond the Bauhaus looks at the intersecting connections and relationships that took root at the Bauhaus’s weaving workshop and continue to unfurl today.
The history of the Medu Art Ensemble reminds us of the role artists play in making the aims of revolutionary thinking tangible.
Images of Americans in these prints tell us a great deal about the local culture as it met the West. They tell us, specifically, about what many Japanese feared, and desired, from the encounter of cultures.
Researchers at the Art Institute of Chicago, partnered with the UChicago School of Medicine, used CT scanning to discover a set of Malian figures were older and more unique than believed.
The photography in this show imagines what stations of the Underground Railroad might look like, as the act of escaping enslavement is also essentially an act of imagination.
Like her massive wall reliefs, Bontecou’s works on paper evoke the world as fragile, teetering on the brink of total calamity.
The figures in The Floating World indicate the new direction Japanese art was about to take over the next two centuries, its growing emphasis on daily life.
The Chicago version of Pop Art, embodied in the work of the Hairy Who, is sweaty, nervous, sometimes giggly or goofy.
The Art Institute of Chicago is now offering unrestricted access to over 44,000 images from its digital archives.
Ivan Albright represents a deeply transcendent, even Platonic, idea of the soul, although one could be forgiven for missing it among the mercilessly unglamorous bodies of his figures.