Usually, this many bugs in an art museum would result in an urgent call to the exterminator. But when Canadian artist Jennifer Angus is in town, an infestation becomes a thing of incredible beauty.
Art News
'Nameless and Friendless' was painted in 1857 by Emily Mary Osborn. It captures a single woman trying, and failing, to earn a living as an artist in Victorian England.
The current exhibition at the Scottish National Portrait Gallery in Edinburgh, Scotland’s Photograph Album: The MacKinnon Collection, showcases the infinite, multiform beauty of Scotland, its people and traditions.
Art collector Mera Rubell insists her family didn’t set out to open a museum when it bought a series of food warehouses in Miami’s Allapattah neighborhood four years ago.
Tarnish is slowly engulfing one of the oldest objects in MoMA's collection, a daguerreotype from 1842.
With some pieces of view having never been seen outside of Malaysia, "Inspired by the East: How the Islamic World Influenced Western Art" is a relatively small exhibition with a large goal.
Luces y Sombras means Lights and Shadows, a fitting title for an extraordinary show of 45 black and white photographs of 20th century Mexico.
The mahout (elephant keeper), the turbaned Ottoman warriors, and the crowning crescent all allude to the Eastern origins of the elephant.
When so much of contemporary art feels like an assault on our senses reflecting the political, cultural, environmental, and psychologically fraught moment we find ourselves in, a new exhibition offers a respite.
Janna Levin brings her celestial expertise to Vincent van Gogh’s star-filled vision, in conversation with senior curator of Drawing and Prints Jodi Hauptman.
















![DEl Kathryn Barton [Australian b. 1972] the more than human love , 2025 Acrylic on French linen 78 3/4 x 137 3/4 inches 200 x 350 cm Framed dimensions: 79 7/8 x 139 inches 203 x 353 cm](/sites/default/files/styles/image_5_column/public/ab15211bartonthe-more-human-lovelg.jpg?itok=wW_Qrve3)


