Whether in a 17th-century mansion, an imagined Georgian bedroom, or a contemporary loft, the unconscious experience remains unadulterated.
The exhibition Reframed: The Woman in the Window explores the acts of looking and being looked at, framing, and art making.
The settlement comes after Tate prevented an artist who exposed sexual harassment by one of its largest donors from co-curating an exhibition.
A Thing for the Mind takes Philip Guston’s 1978 painting “Story” as a starting point to examine the myriad ways in which this piece has filtered into the work of other painters.
A floating art project can’t reach Documenta because the Weser River is too low and museums in the UK shutter galleries to keep workers and collections cool.
The Renaissance master was boundlessly ambitious and intimidatingly energetic, charming, good-looking, diplomatic, and utterly opportunistic.
In finding new ways to read and map landscapes, Tanoa Sasraku disrupts our expectations of the rural and opens up latent memories, mythologies, and energies.
In another action yesterday, five members of the group were arrested after they glued themselves to a landscape painting in Scotland.
An exhibition at the Barbican in London asks: How do you make sense of war’s senseless destruction and loss of human life?
Depicting the busts of Gabriel and the Virgin, “The Annunciation” (1677) may be the ultimate lost artwork, or “sleeper.”
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.