The Hunt for the Unicorn Tapestries, cartoons made in Paris, woven in the Southern Netherlands, c. 1495–1505, wool, silk, metal threads (The Metropolitan Museum of Art), including, • The Hunters Enter the Woods, 368.3 x 315 cm • The Unicorn Purifies Water, 368.3 x 378.5 cm • The Unicorn Crosses a Stream, 368.3 x 426.7 cm • The Unicorn Defends Himself, 368.3 x 401.3 cm • The Unicorn Surrenders to a Maiden, 198.1 x 64.8 cm • The Hunters Return to the Castle, 368.3 x 388.6 cm • The Unicorn Rests in the Garden, 368 x 251.5 cm speakers: Dr. Beth Harris and Dr. Steven Zucker.
Art News
Andy Warhol grew up skinny and badly-complected, but more pertinently Catholic and gay (conditions noticeably conjoined in art history) at a time when being either wasn’t welcome in mainstream America.
Illinois-born dancer Loïe Fuller (1862-1928) took Paris by storm in the late nineteenth and early twentieth centuries. She was famous throughout both North America and Europe for her groundbreaking multimedia Serpentine Dance, glimpses of which endure in photographs and the films she herself created.
The New Museum’s retrospective of Faith Ringgold seems especially timely. The exhibition reveals how Ringgold’s work sees race not only as a matter of identity politics, but also as foundational to U.S. history, and how Black lives mattered to its creation.
The arrival of a traveling exhibition entitled Peace, Power & Prestige: Metal Arts in Africa comes as no surprise. Represented in everything from jewelry and weaponry to currency and identity, the importance of metalwork in Africa spans decades.
Even if you don't know the name, chances are you've seen a reproduction of one of his prints. What is it about his work that has made it last? Through paintings, drawings, prints, and letters, our exhibition 'Dürer's Journeys: Travels of a Renaissance Artist' brings to life this art history megastar and the people and places he visited. 'The Credit Suisse Exhibition: Dürer's Journeys: Travels of a Renaissance Artist' is on view until 27 February 2022.
Anyone familiar with the Midas touch of Philip F. Anschutz won’t be surprised that the magnate has amassed one of the most impressive and important private Western art collections in the world.
The exhibition highlights the popularity of the cartes de visite in American society of the early 1860s and how becoming a carte de visite meant being famous, or at least, worthy of collection. Women were no exception to this trend.
Primarily drawn from the LACMA's collection, the exhibition brings together around 140 works spanning roughly 200 years. Subjects include a wide range—from iconic change-makers to ordinary people rendered extraordinary through art.
The first female Haitian artist to exhibit at the Met, Fabiola Jean-Louis was commissioned to create a piece for its groundbreaking current exhibition, Before Yesterday We Could Fly: An Afrofuturist Period Room, inspired by nineteenth-century Seneca Village.
