The French painter felt he had to rise to the challenge of one question above all things else: What exactly is it to be a modern artist?
A new study posits that rising smog levels in 19th-century London and Paris likely played a role in blurring the lines of realism.
Amid a worsening inflation crisis, Sergio Guillermo Diaz’s banknote artworks are a poignant symbol of Argentinian resilience.
As art history buffs on the app have pointed out, both movements attribute meaning to the meaningless.
Wakaji Matsumoto’s photographs provide a glimpse of a world in the midst of transition into the next stage of global capitalism and Westernization.
A string of recent mural removals raises important questions about how public artworks are protected and what recourse, if any, exists for artists in the event of their destruction.
No one would call an artist from India “British” or an artist from Peru “Spanish,” so why do museums continue to label Ukrainian artists as “Russian”?
Comrade Sisters centers photographs and personal accounts of the women who made up over two-thirds of the party.
While sex is clearly in its cultural flop era, intimacy with ourselves and with others is being deftly portrayed in body horrors.
In an open letter, the Society for American Archaeology accused journalist Graham Hancock’s docuseries of disparaging experts while promoting “racist, white supremacist ideologies.”
Buddhist Art of Tibet: In Milarepa’s Footsteps is a cringe-worthy display of “spiritual colonialism.”
Suzanna Ivanič’s new book Catholica: The Visual Culture of Catholicism is an essential primer on how Catholicism intersects with art history.