Judy Chicago’s collaboration with the fashion house, a runway-installation called The Female Divine, includes a woven catwalk carpet and 21 banners embroidered with questions including “What if Women Ruled the World?”
Prompted by his friend André Breton, Alberto Giacometti first read de Sade in 1933, and his studio notes ruminated on seduction, idolatry, and fetishism.
Hujar wrote that his portrait subjects were “those who push themselves to any extreme” and those who “cling to the freedom to be themselves.”
Since the early 1980s, Kiki Smith has created artworks marked by her fascination and concern with the human body. In a conversation with Hyperallergic, she discusses some of her first films and audio works, which have been scantily acknowledged, offering a corrective to the object-based record of her decades-long career.
Decades before becoming New York’s Pied Piper for nonobjective art, Piet Mondrian had established a reputation in Europe for navigating and remaking realism in his own image.
Despite the contradictions of the Cuban Revolution, the posters on view at the Museum of Decorative Arts suggest that, on paper, artists had freedom to express their optimism and support.
Paris Musées is offering digital downloads of masterpieces by artists including Rembrandt, Gustave Courbet, and Eugène Delacroix.
Almost 30 years after his death, the unabated edginess of Bacon’s paintings, and the dark literary sources informing them, put the lie to our self-mythologizing.
A French charity is raffling a Picasso still life this coming January. The proceeds from the draw will go to providing clean water to communities in Cameroon, Madagascar, and Morocco.
In Zineb Sedira’s work, archival material is not dead and past, but is active, suggesting that there is no such thing as “frozen in time.”
Set the works of El Greco alongside those of Paul Cézanne, Edgar Degas, or Pablo Picasso, and you can see why they admired and copied him.
As protesters take to the streets to oppose President Macron’s proposed retirement reforms, a number of art institutions have partially or fully closed.