To Vincent, books were calls to action, lessons in life.
Leo Steinberg’s compelling essays pull you into the interpretative process, asking you to see the drama he unpacks.
Artist and scholar Stefano Bloch has written a story that is personal, but also a primer on graffiti’s history and artistic and social import.
We philosophers love to argue, and so when I say that Thierry de Duve offers a lot to argue with, I mean that as sincere high praise.
Maier didn’t want people to know where she lived, and often lied about her personal history.
From the outset of his career Bernstein has fought for a poetry of leaps and fissures, one that inhabits the space between logic and irrationality.
Extra Normal features Serge Fruehauf’s photographs from two decades documenting the strange and surreal details of postwar architecture in Europe.
Charlotte Sleigh’s book The Paper Zoo explores 500 years of scientific animal illustration as seen in the collections of the British Library.
Darby English’s new book 1971 decries black nationalist demands for a unified artistic community in favor of abstraction, individualism, and personal autonomy.
Swiss photographer Roger Eberhard traveled to 32 cities in five continents to document the uncanny uniformity of the Hilton’s standard hotel room.
The emergence of artificial darkness in the 19th century, from the darkroom to the theater, radically influenced our experiences with art.
In the spring of 1870, Paris had yellow fever. Not the disease, but the color, which spread as quickly as an epidemic among the most fashionable of the French capital. The cause was a gleaming painting named for the biblical John the Baptist-slayer “Salomé” on view at the annual state-sponsored Salon.