William E. Wallace excavates a lesser-known but crucial final chapter of the artist’s approximately 75-year career.
Careful and yet compellingly fresh in its approach, Painting by Numbers offers a new kind of methods book.
Prosaic and profound, Horn’s book “Island Zombie” feels like standing before art again.
Here’s a sneak peek of the artist’s previously unknown writings from 1955, to be published by Princeton University Press this month.
Considering the evidence of yellow’s constant fluctuation in and out of favor, it is curious to see author Michel Pastoureau wonder if it could be “the color of the future.”
Christopher S. Wood’s A History of Art History will be eye-opening for anyone who cares about art.
In The Power of Cute Simon May posits that “cute” is a modern-day iteration of the Renaissance archetype of the monstrous.
Insect Artifice is divided into two parts: one consisting of an intellectual biography of Joris Hoefnagel, and another, which analyzes Hoefnagel’s seminal work Four Elements, a compendium of the known animal world.
The Tale of Genji: A Visual Companion serves as a thorough introduction to a work of great literary and art-historical importance.
Michel Pastoureau’s new book tackles the complicated history of the color red, from regal hue of kings to scandalous shade of harlots.
In case you were wondering, no, it was not by oversight that I didn’t bother to mention, when writing last week about Elena Ferrante’s The Lost Daughter, the recent brouhaha about the violation of Ferrante’s privacy.
Is it still possible to imagine a book purporting to be about the circulation of images and art within the saturated global network that never mentions the existence of net art and digital art?