Shown at work in his Brooklyn studio, Marcel Dzama discusses the evolution of his drawings, from his time growing up in his native Winnipeg, to his move to New York in 2004, to his more recent responses to U.S. politics and media.
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Davis discusses what it took to write her first art-historical fiction novel and the fascinating inspiration for the story.
Emanuel Gottlieb Leutze's "Indians Attacking a Wagon Train," presents a strikingly dynamic vision of the American frontier. Perhaps best known for his depictions of iconic moments in American history, such as "Washington Crossing the Delaware," Leutze celebrates themes of national identity, Manifest Destiny, and ultimately the American Dream.
Today, like so many other historical works, Albrecht Dürer's "Self-Portrait" from 1500 is taken for granted as a masterpiece. That, however, was not always the case. This podcast episode explores the story behind Dürer's iconic "Self-Portrait."
World War I's wounded needed a sculptor, and one artist was able to make a huge difference.
Bonhams Fine Chinese Art Sale made over $5 million yesterday, part of their Asian Week Sales in London. The top sale was lot 153, a very rare, large Imperial underglaze blue and iron-red enamel ‘Nine Dragon’ Dish, of the Qianlong period (1736-1795). Estimated at $524,000-786,000, the Nine Dragon Dish sold for $703,490.
In a candid one-on-one conversation, Kara Walker and composer/musician Jason Moran discuss their collaboration for the Prospect.4 triennial in New Orleans, "Katastwóf Karavan" (2018). Installed at Algiers Point on the bank of the Mississippi River and activated daily across three days in February 2018, the work featured a thirty-two-note steam calliope performed by Moran and housed in a wagon developed by Walker.
Abstract painter Etel Adnan catalogs the scarce paintings she encountered as a child, shares her memories of a formative trip to the Louvre, and explains her current fascination with tapestries as well as her recent urgency to create new work.
Works that we take for granted today as masterpieces, or as epitomes of the finest of fine art, could also have been considered ugly, of poor quality, or just bad when they were first made.
This weekend in Houston, the Menil Collection opened the doors to the newest building on its 30-acre campus. The Menil Drawing Institute’s 30,000-square-foot, $40 million building houses the Menil’s comprehensive drawing collection and represents the first freestanding building in the United States built expressly for the exhibit, study, storage, and conservation of modern and contemporary drawings.
