Questions of privilege aside, the range of abstract works reminded me how artists are providing nuanced ways of thinking about identity that move beyond exclusion/inclusion binaries.
Joshua Rivkin, a poet himself, passionately admires Twombly’s art and feels compelled to understand the man who made it.
When an exhibition is as puzzling as this one, it’s useful to step aside and reflect.
Just because most museums in America are still asleep at the wheel, it doesn’t mean all is lost.
Rosalind Krauss misreads Twombly in more ways than I can enumerate.
By a playful amalgam of semiotics with scatology, Twombly redevised history painting into palimpsest poop.
In Reading Cy Twombly: Poetry in Paint, Mary Jacobus offers a fresh and intricate study of Twombly’s citations and overall engagement with verse.
CHICAGO — The Modern Wing of the Art Institute of Chicago, which opened in 2009, has reinstated its contemporary collection after giving over most of the space in 2015 to a much-lauded retrospective of the American sculptor Charles Ray.
With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.
On this week’s art crime blotter: thieves take Taco Bell painting, vandals critique Kant, and a man mistaken for Banksy sues six NYPD officers.
A drawing/collage that Cy Twombly made on May 27, 1970, includes three disparate objects: a reproduction of his large, multi-panel painting, “Treatise on the Veil” (1968); a sheet of paper whose dimensions echoed the reproduction, with vertical creases made by folding; and another sheet containing his handwritten signature and the phrase “Study for Veil,” along with the stamped date and the number 3 written inside a stamp containing the artist’s name.
Listen up: $1.5 billion!