It’s all slightly depressing that we can’t seem to get rid of the Warhol itch.
Deliberately unsubtle, the central message of Vasconcelos’s work challenges the snobbery of the art world and champions the inclusion of women and outsiders.
It’s hard to identify precedents for Christopher Wilmarth’s sculpture, which uses its banal modern materials purely abstractly.
Judd hated the cult of the artist.
Both are prone to the response, “I don’t get it.”
Now and then, I suspect that an honest art writer might feel as if he or she is losing it.
Robert Grosvenor unmasks the anti-democratic, hierarchical forces that go into the making of an impeccable monumental sculpture.
Prompted by his friend André Breton, Alberto Giacometti first read de Sade in 1933, and his studio notes ruminated on seduction, idolatry, and fetishism.
With their exhibition, Look, it’s daybreak, dear, time to sing, Richard Ibghy and Marilou Lemmens investigate the complex, cross-species relationship between birds and humans.
Spanning half a century, this retrospective reveals Denes’s art to be so forward-looking that some of it remains ahead of its time even today.
John Pai’s steel sculptures, nourished by a community of Korean artists in New York, reflect a sensibility outside the mainstream of American art.
Marini’s membership in the Fascist Party is something that will cling to him, despite his self-exile to Switzerland and the anti-imperialist tone of his postwar work.