An exhibition at the Museum of Modern Art offers an opportunity to appreciate the earthy, elemental spirit in the sculptures of Constantin Brancusi
This summer, three notable exhibitions around the country present wonderful selections of … call it what you will: folk art, self-taught art, craft, or just plain “art.”
A sweeping retrospective at the Smithsonian examines the life and work of one of the most remarkable figures in American art
A monumental new study of the life and art of cabinetmaker Isaac Vose
An exhibition in Colonial Williamsburg traces the evolution of Navajo pictorial weavings
In this episode of Curious Objects, Benjamin Miller stops by the shop of his mentor Kevin Brown, founder of Geographicus Rare Antique Maps, to peruse a monumental Qing-era map of China and its environs.
Under the shadow of the Depression, at the same time Chicago was developing its reputation as a gritty, neon-lit city of realists—from big-shouldered street toughs to Saul Bellow—a small circle of local artists was hard at work in the realm of dreams.
The Jamaican artist John Dunkley invested colorful scenes of Caribbean life with a brooding sense of disquiet.
It is hard for us now to recapture the sense of miracles that surrounded the woodcut in the waning days of the fifteenth century. The idea that an image could be cheaply and infinitely replicated meant that henceforth, art, and even great art, formerly the exclusive domain of princes and wealthy merchants, might adorn the lives of common men.
Even in such early work as The Clove, Catskills (1827) and View of Monte Video, the Seat of Daniel Wadsworth, Esq. (1828), the facture and compositional strategies employed by Thomas Cole—a working-class boy from northern England, self-taught as an artist—demonstrated surprising conversance with European landscape painting of the time.