Film
Shunga Might Just Convince You That Pornography Is Art
Director Junko Hirata delves deep into the history and influence of the pornographic art form without cheap tittering at its illicit imagery.
Reviews
Art
The Serious Joy of Joyce J. Scott’s Beaded Art
The decorative allure of Scott’s textile and beaded creations seduces viewers into her sharp critiques of racism, misogyny, and other social ills.
Art
Käthe Kollwitz’s Profoundly Human Art
As images of violence have become more ubiquitous, it’s a devastating testament to Kollwitz's artistry that her works are still so moving.
Art
Why Are We Celebrating Dutch Imperialism in 2024?
An exhibition relishes in the opulence of the objects produced by Dutch globalism while disingenuously acknowledging its destruction on unpictured shores.
Books
Where Funhouse Erotics Meet Art History
A new volume of Hilary Harkness’s paintings enfolds us into surreal worlds of gender-bending militaries, feminine revenge, and alternative histories.
Art
Xingzi Gu’s Dreamlike Portraits of Youth
The tension between moments of quiet joy and inevitable calamity in Gu's ethereal portraits is riveting.
Art
It’s Time for Chryssa’s Neon Art to Shine
Chryssa, it turns out, did everything that the famous Pop and New Media artists did, simultaneously or, in some instances, first.
Art
Hugh Hayden Should Cut the Crap
The artist’s latest show belongs in the toilet — and that’s exactly where he put it.
Art
A Close Look at Caravaggio’s Last Painting
Just two paintings are in The Last Caravaggio, both in perplexed mourning over their subject matter, and both emerging from dark places.
Art
Healing Japanese Art for the End Times
A show of Japanese art at The Met suggests that things might not work out for us in our own end times, but it’s worth trying.
Art
Unearthing the Land’s Buried Stories at the Venice Biennale
Artists at the Irish, Hãhãwpuá, Portuguese, and Dutch pavilions are exploring notions of land and rematriation — often by bringing soil itself into the gallery space.
Art
Of Monkeys and Men
Michaël Borremans’s paintings seem to display a pitiless, if not forbidding, irony, almost studiedly cruel in their level of dispassion.