Beyond the Myth, Art Endures
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As Mexico celebrates the centenary of Frida Kahloâs birth, the largest retrospective ever of her work attempts to look beyond what Mexicans call Fridamania.
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Richard Prince blurs the distinctions between life and art, truth and fiction, and even automaking and sculpture.
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Sex, death and religion, artâs old stand-bys, its holy trinity, are alive, weird and living, at âKeith Edmier 1991-2007â at Hessel Museum in Bard College.
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A show at Mitchell-Innes & Nash invites us to reconsider the virtues of this underrated painter.
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A relatively rousing close to MoMAÂs sterile display of contemporary works &#151; touching on desolation, waste, abuse of power, injustice, loss and death &#151; makes a trip to the current exhibition worthwhile.
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More than half a century has not proved sufficient to solve the mystery of Dean Martin and Jerry Lewis, nor to diminish their appeal.
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Andy Warholâs films, in retrospective at the Museum of the Moving Image, are records of a world in which an artist worked, played and built his identity.
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The Museum of Modern Artâs show is a touching, sometimes melancholy portrayal of Russiaâs architectural ferment and the brutality with which it was ultimately suppressed.
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Films use artwork the way they have long used music: to set a mood.
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Artists Gilbert and George believe their 2007 retrospective in London proves their work has endured.
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âChuck Close,â about the painter, photographer and printmaker by the documentary filmmaker Marion Cajori, truly excels is in its depiction of the physical process of making art.
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The Modern's galleries are an eloquent reaffirmation of the enduring beauty of the museum's historic, albeit tendentious, account of modernism.
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Two pieces of Christian art that predate the Holocaust raise questions about anti-Semitism.
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There is art, and there is money. The twain seldom meet. Or, to steal a line from David Thomson, author of the eminently useful reference work "The New Biographical Dictionary of Film" (Knopf, 1,008 pages, &#36;22.95), just out in paperback, there is "Chinatown," and then there are "umpteen possible future 'Mission: Impossibles."'
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A rebel of Chinaâs avant-garde reinvents himself as a painter, sculptor and installation artist.
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The Metropolitan Museum provides a fascinating portrait of two brothers whose relationship might not have been exemplary but whose practices offer plenty of lessons for contemporary collectors.
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The Modern's galleries are an eloquent reaffirmation of the enduring beauty of the museum's historic account of modernism.