There are no angels in Mark Rothko’s work: only the ascendancy of glorious color.
Nothing of value, it seems, was out of the reach of J. Pierpont Morgan’s acquisitive grasp.
The premise of the show, and especially the catalogue, is to put Corita Kent her rightful place in the pantheon of major American Pop artists
In Van Gogh and Nature, human beings play a supporting role. Sometimes moths, butterflies, and poppies are the stars.
In Arlene Shechet’s mischievous hands, the medium’s power as a shape shifter runs wild.
Walking, the deCordova’s fascinating and wonderfully worked out exhibition suggests, is deeply subversive of the status quo.
While American art grew bolder, larger, louder, and more ironic, David Aronson was mystical, introspective, and poetic.
Biographer Annie Cohen-Solal is perhaps strongest on one thread of Mark Rothko’s narrative: his experience as a Jewish immigrant.
The photographer and the exhibition both make much of his outsider status and radical departure from the classic, reserved aesthetics of American art photography.
Some of J.M.W. Turner’s most personal, experimental, and enigmatic works have been selected for this show. They are also among the most fragile and least often shown.