The exhibition is a compelling, if at times dissonant, examination of the formal and material possibilities at the heart of abstraction.
Frida Kahlo, Diego Rivera, and Mexican Modernism feeds into the repeated use of Kahlo and Rivera’s work, and the mythology of their romantic relationship, as shorthand for an entire era.
As Jewish artists fled World War II, some settled in Brazil, where their resilience and desire for renewal shaped their art that looked hopefully to the future.
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.