Books
Italian photographer Stefano Cerio has captured ski resorts at night, empty cruise ships, drained water parks, and, most recently, the uncanny bleakness of China's off-season amusement parks and other constructed entertainment.
Art
1978. Weary of the SoHo art scene, artist Stefan Eins decided to open a new art space in the South Bronx. The space was named Fashion Moda (1978-1993) an abbreviation of the full name painted above its entrance: Fashion 时装 Moda МОДА.
Art
Life-size knit body suits mingle with painted metal lawn chairs, plastic purses, and rows of zines and ephemera in the summer show at Matthew Marks Gallery, What Nerve!, which gathers the work of four outlying postwar art groups in the United States.
Art
During the summer, as Labor Day approaches and people flee the city for vacation, Ferris wheels and circus tents can be seen in the distance announcing the arrival of fairs across the counties.
Art
KLEINBURG, Ontario — People often generalize indigenous art, confining it to images of totem poles, bears, and eagles.
Art
The gigantism trend in public art is apparently inexhaustible.
Art
In a new monthly series, we're highlighting a few games, apps, and interactive digital experiences recommended for the art crowd.
Art
The premise of the Museum of Modern Art’s current exhibition Scorsese Collects is twofold: to present 34 posters from the director’s personal collection and to act as a visual companion to the upcoming film program Scorsese Screens.
Art
BERLIN — With a quiet and contemplative beginning, Sehgal sets up museumgoers for an unanticipated fall into the very heart of spectacles of intimacy.
Books
Geoffrey O’Brien — critic, columnist, essayist, editor-in-chief of The Library of America, and poet — is both a preservationist and an elegist, savoring what can be saved, acknowledging what will always be lost.
Art
One of New York’s great resources is its daunting abundance of commercial galleries, which provide encounters with an endless parade of new and old art forms from around the world.
Art
I originally considered writing in a standard review format, but Carsten Höller’s retrospective Decision, currently on view at London’s Hayward Gallery, is more amenable to the listicle form.