This BarabásiLab exhibition is inspiring because it exemplifies a powerful integration of art and technology.
Africa’s Struggle for Its Art usefully charts the prequel to current campaigns pressuring for the return of colonial plunder.
Making the viewer draw visual connections among Matisse’s pieces in the title painting is at the core of MoMA’s The Red Studio.
While it’s too soon to call it timeless, the vitality in Philip Guston’s art has proved durable. But the structure around it – the “art world” in its blinkered, stultified form, institutional and academic in the worst senses of those words – has died and encased it.
Given the current state of play, any attempts to enrich our knowledge of the built environment are valuable.
Raida Adon rejects political categories because they fail to capture the utter strangeness of lived experience.
When you go to the Art of Banksy website it is immediately clear that Banksy himself had nothing to do with this traveling show.
Perhaps unintentionally, the show is a moral fable on the nature of true achievement: Milton Avery’s steady progress on his own path stands out in this age of online influences and the rabid pursuit of instant fame and material success.
Strict Beauty: Sol LeWitt Prints is a compelling opportunity for immersion in an important aspect of the artist’s work
“The abuse in the church has very unique and cruel twists to it. And, as one of the oldest continuous patriarchal institutions in the world, looking at the church helps us to reflect upon how many established institutions, including families, help perpetuate and conceal violence throughout society.”