Visual Arts
The MFA’s Fashioned by Sargent alludes — only at whisper level — to the fact that many of John Singer Sargent’s clients represent questionable ideals.
Is the artist’s direction of clothing choices — and how he painted the garments — a sufficiently compelling inquiry in which to anchor an exhibit?
The show would have been stronger if more context had been provided, both about women’s lives and the artistic traditions that inspired and influenced artists of the Renaissance.
The Folk Americana Roots Hall of Fame and the Panopticon Gallery host very different shows featuring rock icons.
Edvard Munch was very far from a one-hit wonder. His career was a long narrative of restless creativity.
A leitmotif of this exhibition underlines Josephine Nivison Hopper’s role in her husband’s emergence as one of the most successful and beloved artists of his generation.
Among the usual suspects and idiosyncratic specimens, a handful of landscape paintings, prosaic portraits, and transcendent abstract works defy watercolor’s association with lightheartedness.
It is the volume’s autobiographical component, the accounts of Pasolini’s wide wanderings in art and aesthetic revelations, with their dramatic, cinematic flashbacks, that give this collection much of its literary value.
Two exhibitions merit a visit to the Metropolitan Museum of Art — but soon. Each closes July 16.
As a fellow female artist who is working to develop her own career, photographer Elizabeth Waterman acknowledges and honors the humanity and dedication of her subjects.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy