The creation and interpretation of art remains an anchor and a refuge, a sanctuary for vanishing ideals.
We cannot escape violence, Golub suggests. We cannot overcome it or circumvent it or negotiate with it.
Golub’s paintings cast the West’s Greco-Roman heritage not as a reflection of reason and order, but as a manifestation of its latent savagery.
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.
It makes sense, at this most critical moment, to take a serious look at the art of the 1980s, its political fury and layered poetics, as an anchor in the storm.
The museum should be commended for shining a light on painting, but the show feels like a missed opportunity.
A Wall Street hedge fund manager and art collector is suing a mother-son duo who allegedly sold him 24 fake paintings by Leon Golub.
So where were they? An Inside Art column published in The New York Times a week before the opening of Art Basel Miami Beach dangled the prospect of a more inclusive fair this year, one that would feature “A Focus on Female Artists,” as the headline put it.
LONDON — The conversation of war has dwindled.
CHICAGO — Two weeks ago, news began to spread of the death of John Kearney, a fixture in the Chicago art world for more than seven decades. He was 89 years old.
Nancy Spero died in 2009 at the age of 83. The current exhibition of her hand-printed collages from the 1980s and 1990s, From Victimage to Liberation, at Galerie Lelong in Chelsea, is the first show in New York to focus on her work since her death.