With the possible exception of Howard Hodgkin, not a single English abstract artist has attained anything comparable to the status achieved by Lucien Freud or David Hockney.
Many scientific studies assume that the features of painted faces are the facts of the flesh-and-blood countenances to which they refer. This assumption is not only false; it is preposterous.
By negating the figure, Amir H. Fallah expands the limits of portraiture to make space for multiple interpretations.
The free-to-attend Black Portraiture[s] conference will focus on the creation of visual archives in the context of landmark moments in Black history.
Nathaniel Quinn’s first museum solo show features work which suggests that reality might best be recognized by its disjunctions rather than by single-point perspective.
If measured as a flame to kindling, John D. Graham was arguably the most consequential figure in 20th-century American art.
Van Dyck: The Anatomy of Portraiture, currently at the Frick Collection, provides a window onto how the premier Baroque portrait style came together in the busy studio of a gifted, if short-lived, painter.
The Frick Collection is adding an impressive cache of metal portraits to its collections.
This past Sunday was both an auspicious and sobering time to visit the Brooklyn Museum’s exhibition Zanele Muholi: Isibonelo/Evidence.
Photographer Mikaël Theimer’s project Humans of the Street chronicles a group often overlooked amid the hustle and bustle of city life: the homeless.
In 2007, Chinese photography collector Tong Bingxue received a phone call from a man seeking an appraisal for a recently purchased book of photo portraits. As Bingxue recounts in A Life in Portraits, a quick examination of the book revealed a startlingly unique, unified subject: one man’s yearly portrait, taken faithfully and consecutively from 1907 until his death in 1968.
Today, after 12 years, Michael Bloomberg will leave his post as the mayor of New York City. He’s left us two gifts: a ban on e-cigs and an official portrait.