Collaged scraps of cloth or crumpled paper in Andrews’s portraits were a subversive and insistent means of encompassing his own non-White, non-urban roots. 

Despite the fact that most of humanity has shared the devastating emotional turmoil of a breakup, the topic is strangely elusive in the history of art. 

When sales are robust, it confirms that producing and selling art is actually a viable activity. When sales falter, our world begins to feel untenable.

The artist tells Hyperallergic about how the isolation of COVID-19 led to a streaming series set wholly within the bounds of his studio.

Emin accomplishes what any great artist must do — turn the sacrificing of privacy into the spark of human connectivity.

Nordic Utopia? African Americans in the 20th Century zeroes in on a far less charted corner of Black history than that of expats to Paris: the artists who ventured north.

Coyne’s work sits between abundance and suffocation, uses seductive materials to serve uncomfortable truths about the barriers that face women.

En masse, Eisenman's paintings feel weighty and overwrought, as if too many ideas had become tangled and sucked up all the air, like a one-way conversation.

The art felt as if it was trying to find the language to merge emotion with content, to harness the energies of the search within the courage of experimentation.

Petrit Halilaj works from memories of his time in a refugee camp during the Kosovo War, when the sight of birds and thought of migration gave him hope.

With its hands-off approach, the Milwaukee Art Museum's survey is a reprieve — an intimate place to wallow in mark-making.

Varo's paintings beckon us to plunge into their vaporous worlds while challenging us to decode intricate scenarios.

Van Gogh and his cohorts were actively searching for new means to translate modern culture. Why aren’t we taking risks?

Hettie Judah’s important book examines the current climate of discrimination against parents who are also artists.

The Chazen Museum of Art in Wisconsin didn’t quite know what to do with a controversial emancipation statue of Abraham Lincoln in its collection until Sanford Biggers stepped in with an idea.

In an exhibition that consists of mostly small-scale black and white works on paper, viewer engagement almost magically awakens the sleepy room.

With explosions of color and materiality, Cave has his own enigmatic ways to funnel the funk through histories of adversity.

Kruger never seemed to mind that the very world she critiqued co-opted her style and spit it back into advertising.

Yoakum had said repeatedly that the drawings were “spiritual unfoldments,” meaning that faith guided his patterns and passages.

In Quarles’s paintings, boundaries dissolve as the artist grinds up the fixed binaries of Black/white or male/female.

Alice Neel: People Come First yielded a work I had never seen and that I will never unsee.

Part of the John Michael Kohler Art Center, the new institution celebrates the ingenuity of a long undervalued form of art making.

Birds and airplanes soar, horses gallop, purples meet yellows, cerulean blues tango with magenta in geometric patterns, foliate designs crash into damask.

People say you should talk to the dying to reassure them, but words felt too pedestrian for this profound space of transition.

I had questions for Pepper, but I arrived too late.

Interjecting the power poses of Western art history with heroic Black revolutionary figures from the Caribbean, Barontini’s work manages to be seductive yet also ceremonial.

In Soles of My People, Khari Turner channels elements of Midwestern waterways into figures awash with global histories of triumph and struggle.

A writer reflects on Giotto, St. Francis, and what it means to have faith amid a pandemic.

More than 40 textile works dating from the 1950s to her death in 2007, at age 100, float in the artist’s retrospective at the John Michael Kohler Arts Center.

William-Adolphe Bouguereau's Belle Epoque paintings suggest that anything can be bought as a balm against the harsh conditions and human expense required to build America.

Can the terms of the art world really change from competitive creative genius to notions of collective power and proximity?

Nathaniel Quinn’s first museum solo show features work which suggests that reality might best be recognized by its disjunctions rather than by single-point perspective.

Overshadowed in her lifetime by her famous husband, Max Ernst, the American painter gets a major retrospective in Madrid.

Outdoor sculpture should not be an addendum but an interruption, an incongruity, a hole piercing the day’s fabric.

How interesting that William Kentridge envisioned the cage as the equivalent of a piece of luggage or a goat, something that we cannot leave behind.

CHICAGO — When he studied art history in the 1970s in Los Angeles, Kerry James Marshall was struck by the absence of black artists in the "canon."

MILWAUKEE — As I look at this photograph of myself, lying flat with arms outstretched on the Carl Andre, I wonder about my violation of museum etiquette.

CHICAGO — Three major exhibitions devoted to Pop art that opened last year broadened the purview of this movement as a primarily Western (American) phenomenon by unearthing lesser-known artists to provide a global view of art in the 1960s and ‘70s.

SHEBOYGAN, Wis. — Lee Godie's self-portraits generate warmth, humor, and the stubborn confidence of a woman shaping her own frail destiny.

MILWAUKEE — It’s not unusual for a work of art to cause outrage, especially if it dips into the tender zones of race, gender, or religion.

Over a period of 50 years, the artist Mary Nohl transformed her yard as well as the interior and exterior of her cottage into an environment that stands in conversation with the surrounding land, lake, and her childhood memories. Almost immediately after the first cement sculptures materialized in the 1960s, however, she became known as “The Witch.”

MILWAUKEE — In the foreword to the exhibition catalogue, Bernard Blistene and Alain Seban of the Centre Pompidou, Paris, glue together a new retrospective on Wassily Kandinsky with two words: “intrinsic coherence.”