A MoMA conservator considers the missing pieces of Noah Purifoy’s assemblage "Unknown," and its relation to Pop art.
Art News
No word would suffice to express the fluency with which these shorthand icons, which have supplanted words in texts and emails and on social media, have become a language unto themselves. Correspondent David Pogue talks with designers and gatekeepers for emoji, and finds out how new symbols are added to the lexicon.
The exhibition takes Fishing Boats at Étretat (1885), the only work by Claude Monet in SAM’s collection, as inspiration, presenting it alongside ten other paintings by Monet from his visits to the village as well as five paintings by his contemporaries.
At a time when figuration is the dominant way of working in the international art world, New York’s Richard Taittinger Gallery takes a look back at an important figurative art movement in Europe in the 1960s and ‘70s.
Flynn Fine Art is excited to announce its first digital presentation in partnership with Artsy, Five Quarantines, by Caroline Carlsmith.
The National Museum of African American History and Culture’s May programming features a special conversation on the landmark African Burial Ground project that revealed a greater history behind slavery in the North.
The abstract expressionist painter and Chicago-born poet Corinne Michelle West (1908-1991) was thirty-one years old when she officially changed her name in both her personal and professional life to Michael.
The still-life is star for Paul Cézanne, who, while not the first artist to paint a still life, was the first to elevate everyday objects to be the primary subject. Nature morte; pommes et poires, was made in the late 1880s at the height of the artist’s career, when he was living in Provence and creating his most celebrated works. Simple in composition and striking in its modernity, this painting is a beautiful and exciting example of Cezanne doing what he did best– exalting the quotidian and giving the world a new way to examine the natural world.
Currently presenting the exhibition Man Ray & Picabia at his West Village space in New York, the young art dealer recently sat down with Art & Object to discuss the making of the intimate, jewel box show and the nine powerful paintings in it.
An exhibition of new encaustic paintings and digital art by Wo Schiffman and Davey Whitcraft that confronts complex perceptions of place, belonging, and isolation.
