Ornament is Crime is a visual compendium of the Modernist home, from early 1900s designs to contemporary structures carrying the austere style into the 21st century.
In Girard’s fantastic retrospective at the Cranbrook Art Museum, we see how he mitigated the starkness of American Modernism with bold color, earthy materials, and folk art aesthetics.
Tsireh’s watercolors recall a remarkable period of creative art-making from the Native American community, and this exhibition gives him dimension and the recognition he deserves.
The current exhibition of paintings by Francisco Oller at the Brooklyn Museum is a provocative and difficult show — a collision of curatorial strategies and recalcitrant artwork that defies the interpretive armature.
Want to own a house that changed the urban landscape of the United States?
LIMA, Peru — Geometric abstraction is one of those art movements that, depending on the viewer, either resonates deeply or bores one to tears.
Clare Grill is a painter based in Queens. She has shown consistently, if not quietly, over the last few years.
A collection of Anglo-European avant-garde and modernist magazines dating to the late 19th and early 20th centuries has been compiled by Monoskop.
LONDON — Riley’s paintings establish a sort of bridge between old inquiries and more recent art: no matter how many years have passed since the inception of Modernism, she seems to suggest its bases are still the fundament of artistic endeavor, and always will be.
Asia Society’s Iran Modern is a must-see exploration of a period little known in the West but infinitely interesting for its non-Western responses to modernity, its embrace of the developing world, the prevalence of prominent female artists at a time when the same wasn’t true most elsewhere, and its pushing of boundaries in an era where its experiments in culture could be seen as cutting edge.
In his critique of the Gulf art boom for the Wall Street Journal late last month, Noah Feldman eagerly took up the cause of Tahrir’s political muralists, dubiously trumpeting that this was “the first time in Arab history that the visual arts had a major impact on public consciousness.”
As the 100th anniversary year of the 1913 Armory Show winds down, it’s worth taking a look at an exhibition in Texas that may not directly corral together the scandalous and shocking art of that first burst of modernism into the Americas, but just as strongly shows how the waves of Cubism, Futurism, Expressionism, and beyond would roll through the 20th century here with the spurring of that initial experimentation in Europe.