Style
The Met’s “Costume Art” Makes a Case for Fashion
Some of the pairings can be quite on the nose. In the “Classical Body” section, a golden Issey Miyake breastplate and bodice, molded to…
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the art world
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Edmonia Lewis, the Misunderstood Sculptor Who Brought Stone to Life
The exhibition opens with Lewis’s sculpture “Forever Free” (1866-67). Roughly three and a half feet tall, it shows a man and a woman…
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The Many Forms of Marcel Duchamp
In 1905, Duchamp learned that, if he got certified as an essential “art worker,” his obligatory military service would be reduced from two…
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Under the Influence at the Whitney Biennial
Although Sula Bermúdez-Silverman’s simultaneously austere and sensual handblown glass sculptures—which are light-bulb-shaped and affixed…
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What Egon Schiele Saw at the Hospital
Before meeting Graff and his patients, Schiele made art that was largely derivative. He had studied at Vienna’s Academy of Fine Arts with…
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Eugène Atget’s Epic Record of Time and Place
Through his conversations with artists, he learned that they sometimes used photographs as source materials. Atget decided to provide…
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The Haunting Talent of Noah Davis
The show opens with Davis’s early work, some of which is precisely that. Looking at reproductions, I’d been eager to see “40 Acres and a…
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The Cold Comfort of a Helene Schjerfbeck Painting
In 1883, Schjerfbeck travelled to Brittany, where her first coup of ingenuity arrived, with paintings like “Clothes Drying” (1883) and…
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It Takes Only Five Paintings to See Helen Frankenthaler’s Genius
In a small show at MOMA, Frankenthaler seems to make paint its own living force, untouched by an artist. Source link
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The New Studio Museum in Harlem Shows that Black Art Matters
I had to wait for the next generation—my older sister—to break through that uncertainty and introduce me to the political, social, and…
World
The New Studio Museum in Harlem Is a Landmark in the History of Black Art
I had to wait for the next generation—my older sister—to break through that uncertainty and introduce me to the political, social, and…
Style
Ruth Asawa’s Art of Defiant Hospitality
“It was the first time in my life I didn’t have to do anything,” Asawa later said. She took drawing lessons from three interned Disney…
World
Robert Rauschenberg’s Art of the Real
On certain days, I’d cut school and head over to the Museum of Modern Art to dream awhile. This was in the mid-nineteen-seventies, and my…
World
A Daring Show Remixes the Monuments of the Confederacy
The first thing you see is a horse’s ass, protruding, upside down, from the thorax of a monster. A man’s arm descends from the beast’s…
World
In Philadelphia’s Calder Gardens, a Dynasty Comes Home
That’s meant to be remedied by Calder Gardens, a new institution taking shape in a half-buried berm on the Parkway, not far from that…
World
The Met’s Luminous New Rockefeller Wing Still Casts Some Shadows
It may be the most impressive of the recently modernized colonial collections, far surpassing Berlin’s much criticized Humboldt Forum. One…
World
The Met’s Exhibit on Black Male Style Is an Exceptional Achievement
Writing in this magazine in 1973, Kennedy Fraser referred to style as “individualistic, aristocratic, and reckless,” and one or all of…
World
The Eternal Mysteries of Red
The first time he tried to kill red, he brought a box cutter. The wounds were almost fifty feet long combined—clearly, he didn’t want to…
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Giorgio Morandi Tried to Fit the World on a Table
As genres go, Italian still-life painting isn’t a ghost town, exactly, but it evokes more than its share of dust and tumbleweeds. It’s…
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Every Mandala Tells a Secret
There was more flaying than I expected, though not necessarily more than I wanted, at “Mandalas: Mapping the Buddhist Art of Tibet.” Any…