Ikon Gallery’s retrospective asserts that Carlo Crivelli’s self-reflexiveness and questioning the nature of the image made him anticipate the “contemporary.”
The Woven Child at London’s Hayward Gallery is a moving examination of Bourgeois’s fabric sculptures, drawing out themes of motherhood, gender, identity, and trauma.
In a new exhibition, the artist defies the sequential nature of history, finding various ways to chronicle the many layers of devastation experienced throughout the Mekong Delta.
The studio is a place of self-mirroring, self-haunting, a space where the artist plays out the day-to-day reality of the fantasy of being an artist.
Popular perceptions of van Gogh are often preoccupied with heart-wrenching accounts of mental illness, but Van Gogh: Self Portraits avoids speculative psychoanalytic readings of one tortured face after another.
By the end of Life Between Islands, the island that is centered in this exhibition is Britain, and “the Caribbean” remains a loose, ill-defined, hazy backdrop
To play devil’s advocate, you could argue that eventually technology will be so good that everyone will have VR, and there is no need to travel to the National Gallery at all to see art.
Why assemble the most significant grouping of Hogarths from far and wide without indicating why calling out the faults in historical artworks is important to our understanding of our world today?
Bad Manners is thoroughly and unmistakably an endeavor of one-time art world provocateur Jake Chapman.
Perhaps Ai is untouchable. If that is the case, where were we left when judging his new art?
Bacon was obsessed by animals lifelong. Rawness. Beastliness. Fearsomeness. The way they lived. The way they died. The way they preyed upon each other.
Gisela McDaniel captures the voices and memories of her sitters and offers them the opportunity to narrate their own histories.