Throughout the show we are taken on a journey through the predominant narrative of 1960s art history, as told by the institution that has dictated modern art as we know it.
This first major museum retrospective of Mexican Gabriel Orozco has been viewed as controversial, and not entirely for reasons of taste.
Austere, calming, provocative, aggressive, confronting, soothing, luring, denying – these are some of the adjectives that can be applied to Richter’s new paintings.
By all rights these life-and-death-size duels in the sun between bullfighters and bulls should be awful, stripped of the mystery and mediation that until now had been the artist’s stock-in-trade.
Federle’s attempt to create an atmosphere of spiritual mimesis is fairly unique in current abstract painting.
Carroll Dunham’s rough canvases, tilting toward aggressive sexual assertion and actions of near anarchy, are catchy tunes of hipster malice.
Thomasos’s vigorously contemporary abstraction is constructed upon imaginary metropolitan grids in which subterranean cages rise to skyscraper scale and architectural renderings blur into infinite space.
Sleigh took a proto-feminist approach to spatial representation that was, and sometimes still is, confused with a naïve technique.
In Stitches surveys artists from very different backgrounds who are united by the medium of stitching, broadly defined.
Giambattista Tiepolo (1696 – 1770), very famous and much in demand in his lifetime, has a roomful of his enormously tall paintings at the entrance to the European galleries of the Metropolitan Museum. Thought to be just a gifted decorative artist, unlike Piero della Francesca, he has not has not become a culture hero. In a…