Emily Pettigrew and Aubrey Levinthal are two painters who have much in common, but their differences run deeper and are more telling.
Ena Sendijarević’s debut feature, Take Me Somewhere Nice, follows a young Bosnian refugee as she sets off to visit a native country she no longer knows.
This is a public, political art that invites us to see the world differently, and even encourage the spirit of community.
“If a painting doesn’t have the right seasoning, it has to wait.”
Mark Hage’s photos of empty storefronts reveal how real-estate development leaves behind sites of civic neglect.
If Philip Guston wanted everyone, including himself, to leave his studio, Franklin Evans seems to be inviting everyone in.
This week, Frank Gehry’s new van Gogh inspired building, Diana Ross releases a new track after 15 years, crafting save the US, LGBTQ-owned US bookshops, and more.
Alyse Rosner is grappling with the question of how to make an abstract painting reflect both the personal and collective.
Jason Stopa’s desire to infuse his paintings with joy mixes sophistication and innocence without privileging either one.
Faustine’s depiction of household shared by three generations of Black women presents matriarchy as a source of power.
The French artist’s decision to stop painting in 2011 grew out of her work’s internal logic.
The exhibition Barbara Hepworth: Art & Life is both an examination of some of the best of her artworks and a spasmodic account of her life.