Art
WASHINGTON, DC — The main building of the Phillips Collection, the oldest modern art museum in America, is a sprawling, neo-Georgian affair, buckling beneath the weight of its dark, mahogany décor.
Art
After its acquisition in 2012, the Metropolitan Museum of Art is debuting Thomas Hart Benton's 1930s "America Today" mural not as a painting, but as a room.
Art
"Viewer discretion advised: graphic sexual imagery," reads some floor text that nobody seemed to notice or bother to read this afternoon as they entered Mendes Wood DM's booth at the Independent.
Art
PARIS — Pliure (meaning “fold” in French) is a book-based small show, tastefully curated by Paulo Pires do Vale, about the artistic metamorphosis of books (those folded paper things).
Art
BLOOMFIELD HILLS, Mich. — The centuries-old tradition of the Wunderkammer is enjoying a resurgence of late, with cabinets of curiosities on display from the Chazen Museum of Art to Gagosian Gallery, and vitrine artists like Edmund de Waal and Joseph Beuys being hailed as champions of the medium.
Art
Amy Giovanna Rinaldi's sculptures look like they're frozen mid-metamorphosis.
Art
SINGAPORE — This is a tale of two Leonardos — or rather one possible Leonardo and one definite da Vinci.
Art
The 2015 Armory Show delivers pretty much what you'd expect of the 2015 Armory Show: some quite good art, some pretty bad art, and a lot of completely harmless stuff in between.
Art
Japanese-American artist Isamu Noguchi’s highly formal approach to design borrows cues from varied sources, including architecture, sculpture, and photography.
Art
In its fourth year, Spring/Break Art Show is temporarily transforming the disused offices of Moynihan Station into an art fair based on the theme of "transaction."
Art
PHILADELPHIA — Abstraction is, by its very nature, an exercise in reduction, in simplifying the elements of form, material, and subject matter to their very base, or one might say, to the very limits of where one can possibly go.
Art
Recurrent throughout 8 Painters are stylings on past painterly marks and movements, not so much placed in quotations as absorbed into a work’s facture.