Visual Arts
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.
Betye Saar’s assemblages and travel sketchbooks are rich in references and symbols; they are mysterious and introspective, more spiritual than political.
Nye Ffarrabas and others in Fluxus created intermedia events that pushed the boundaries of prevailing norms in painting, sculpture, poetry, music, architecture, and theater.
Ah, the trees! They are the focal point, the organizing principle, of this tight exhibition, which in three parts tracks Van Gogh’s productive yet challenging sojourn in southern France, from Arles to Saint-Rémy.
Despite their stylistic differences, Robert Barry and Martin Puryear share a similar goal: to include us in their respective inquiries into the nature of mind and liberty, but not do the work for us.
Design Commentary: Department of Play — Creating a New Urban Planning Paradigm
Participatory, small-scale planning is a powerful step forward because it doesn’t pay lip service to cliches about “listening to the community.”
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