People say you should talk to the dying to reassure them, but words felt too pedestrian for this profound space of transition.
Ahrong Kim is a masterful ceramic sculptor whose touchstone is a young Asian woman’s head.
The poet suggests his art’s highest calling isn’t truth-telling but stirring our empathic imagination.
This week, the cost of competing on RuPaul’s Drag Race, “The Scream” is in solidarity with Strike MoMA, a new biography of Edward Said, and more.
Brazilian artist Caetano de Almeida lets colors call to colors, and shapes to shapes, as he works his way across the painting.
Gunda and Stray reveal how difficult it is not to romanticize the lives of other animals.
The poems in Jean Day’s Late Human carry a sense of having arrived at a moment when nothing feels quite right.
The media almost always overlook what is truly interesting about fakes: not who made them, who sold them, or who was in on the scam and who was not, but what they tell us about art and those who produce it.
Lerner’s new works evoke an asymmetrical kaleidoscopic hum, as geometric forms and multiple hues dance around each other.
Derek Boshier’s commitment to being a witness to the catastrophes and jarring discrepancies of daily living has contributed to his near-invisibility in New York.
Darius Marder’s Oscar-nominated film is less about the Deaf community than about the process of losing a sense inextricably tied to one’s identity.
Curators and scholars have increasingly highlighted the importance of poetry to Mitchell’s art, though usually with so much circumspection that the link still remains obscure.