The exhibition Wars at David Nolan evokes political and personal violence as facts of modern life.
Ephemera provides an important history lesson, especially for a war that is disappearing from America’s collective memory, but the most affective works in World War I and the Visual Arts are those that convey the pathos of the war experience.
How do artists function under tyranny?
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
Ten years ago, the Morgan Library & Museum decided it was time to bring its collection up to speed on the art of drawing in the 20th and 21st centuries — a daunting task in itself, and even more improbable in the face of a superheated, late-capitalist art market: at the feast of the trophy-eaters, would the museum be forced to content itself with scraps?
Should countries set a deadline for restitution claims brought by descendants of Holocaust victims whose art was looted by the Nazis?
George Grosz in Germany, on view at the New York Studio School Gallery, offers a rich overview of Grosz’s development as an artist and dissident.
You’d never find Pablo Picasso or Jackson Pollock relegated to the corridors of the Museum of Modern Art. Rarely do artists deemed essential to MoMA’s historical narrative rub elbows with the throngs swarming the escalators and passageways in endless transit from galleries to café to restroom and back.