Leonardo’s “Virgin” meets virtual reality — simpleminded in the extreme.
The power of her work comes from its suggestion that specificity and universality, when it comes to identity and experience, are not mutually exclusive concepts, but often exist side by side.
Is it fair to use contemporary standards to judge a man who died 116 years ago?
Albert Oehlen has been a wild spirit from first to last.
The “Animistic Apparatus” program at this year’s Berwick Film and Media Arts Festival explored the natural world as a potential audience.
Hirst has been an erratic artist from the beginning, just as likely to fail as to succeed.
Can the enduring presence of such monuments among us still have the power to reinforce deep-rooted prejudices, by the very fact that they have simply not gone away?
Is there something self-aggrandizing about Gormley’s career-long obsession with making casts of his own body?
Though Krasner often invited art historians to interpret her work biographically, she was too resourceful an artist for those reductive readings to overshadow her art’s complexity.
Krasner’s teacher, Hans Hofmann, told her that her work was so good, you would have never known it was done by a woman.
The Bethlem Museum of the Mind’s latest exhibition Brilliant Visions: Mescaline, Art and Psychiatry plunges into the murky world of psychosis and psychedelics.
Mucha’s reflective sculptures ensure that while looking at one work, viewers are aware of others and our presence among them.