While other modern architects imagined a future of single-family homes that resembled Rubik’s Cubes, with boxy exteriors and primary-colored walls, Austrian-American artist and architect Frederick Kiesler considered a return to cave dwelling.
MOSCOW — Should you find yourself among the fountains and fields of Gorky Park, and should you wander into the vicinity of the Garage Museum of Contemporary Art, and should you be a serious, no-bullshit arachnophobe, look down at your feet and return the way you came.
World War II signaled the death of figurative art, or so the High Modernist narrative once contended.
When French photographer Jean-François Jaussaud asked an 84-year-old Louise Bourgeois for permission to photograph her at her New York home and studio, she gave him an intimidating stipulation.
MILAN — The most startling pairing in The Great Mother, an exhibition that tracks the iconography of motherhood in art and popular culture from 1900 to 2015, is a sculptural stand-off between Sarah Lucas and Thomas Schütte.
LONDON — Last year was my first Frieze London fair, and I was baffled that it could seem so desultory, given that it was chock-a-block with pointlessly novel artworks.
After family dinners, Louise Bourgeois says of her childhood, everyone “was supposed to bring some kind of entertainment.” Dinner entertainment clearly came with a sense of obligation. It wasn’t, exactly, fun.
What is it about Alexander Calder sculptures that makes them irresistible to the artists who create architectural renderings?
With America Is Hard to See, the exhibition inaugurating its luminous new Renzo Piano building, the Whitney has reclaimed its role among the city’s museums as the engine of the new.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
Set to open in the summer of 2016, a sleek museum designed by Swiss architect Peter Zumthor for a Norwegian zinc mine has been over a decade in the making, although parts of the attraction are already in place.
Among France’s postwar female sculptors, Germaine Richier, and her haunting figuration, is today perhaps the most under-appreciated. This has now been partially corrected thanks to the efforts of Dominique Lévy and Galerie Perrotin, two galleries that have joined forces to present a wide-ranging exhibition of the artist’s work.