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Four thousand photos is almost too many, but Annie Leibovitz The Early Years, 1970-1983: Archive Project No. 1, at Hauser & Wirth, Los Angeles, through April 14, has more than that. In fact, there are so many that some are placed at ankle height, requiring young knees for viewing, while others sit six feet and above. High or low, they’re all worth seeing. 

We’re joined by fellow Art History Babe and map lover Mariah Briel to parse through all sorts of theoretically challenging ideas concerning maps and how we document space. Join us as we discuss map making and its relationship to cultural ignorance, the fundamental issues with making a 3D thing into a 2D thing, and how maps operate as both an art object and a scientific object.
With two upcoming auctions, Christie's offers the unique opportunity to compare the artistic outputs of some modern masters. Contemporary Edition, on February 27, features a variety of prints from Joan Mitchell, Jasper Johns, Robert Rauschenberg and others. Their Post-War to Present sale, taking place the next day, offers singular works from some of the same artists.
The Metropolitan Museum of Art announced this week that they had handed over their prized Coffin of Nedjemankh to the Manhattan District Attorney’s Office, the first step in returning the artifact to Egypt. The first-century BC gilded Coffin had been the centerpiece of the exhibition Nedjemankh and His Gilded Coffin, which opened in July 2018, and included 70 other Egyptian objects from The Met’s collection.
Corrie is joined by actor friend and horror film buff Brian Muldoon to chat about Netflix's new horror satire situated in the contemporary art world, "Velvet Buzzsaw."
Two Pulitzer Prize-winning authors published a book titled Van Gogh: The Life that stunned the art world. Therein, Gregory White Smith and Stephen Naifeh state that the artist didn't actually commit suicide.
Haunting is the word that the press and the public are using to describe the retrospective dedicated to Sir Don McCullin on view at the Tate Museum in London through May 6. McCullin, born in London in 1935, has spent his life behind a camera, covering some of the most brutal conflicts of the twentieth century: Vietnam, Northern Ireland, Biafra, and Cambodia, just to cite a few.
Some of the best art schools in the country are in Los Angeles, the fruit of a long tradition of blue-chip practitioners like Catherine Opie, Robert Irwin and Millard Sheets teaching classes to the next generation. Among the largest exhibition spaces for contemporary art in the world, L.A. boasts a burgeoning downtown arts community, spreading to all corners of the city. The only thing missing is the art market. That’s about to change, if Victoria Siddall has anything to say about it. She’s the Director of Frieze Fairs—including Frieze London, Frieze New York, Frieze Masters, and now the inaugural Frieze Los Angeles, Feb. 15 through 17, on the backlot at Paramount Studios.

Sculptor Nari Ward brings his perspective on the American experience to the New Museum this week. Ward, who was born in Jamaica, has lived and worked in Harlem for much of his twenty-five-year career. We The People is the first museum survey of his work and brings together over thirty sculptures, paintings, videos, and large-scale installations from throughout his career.

Artists have provided inspirational subject matter for filmmakers since the earliest days of moving image storytelling and none have occupied a more central place in filmmaker’s imaginations than Vincent Van Gogh (1853-1890).