Janyce Denise Glasper sees the Jean-Michel Basquiat exhibit organized by the beloved artist’s sisters Lisane Basquiat and Jeanine Heriveaux, and calls it strong, meaningful and moving. The ticketed show, in Chelsea, with exhibition design by Sir David Adjaye, OBE, has been extended to Sept. 3, 2022.
Read MoreOur contributor Janyce Denise Glasper writes an opinionated essay about artists’ placement in museums. Where does Jasper Johns go? Where does Emma Amos? Some artists receive accolades mostly after their death, while others receive praise again and again in life. The art world is still a mostly white world and mostly a white man’s club.
Read MoreAt a time of deep isolation like ours, letter writing offers a breakthrough to a special closeness as shown in the book “Artists’ Letters: Leonardo da Vinci to David Hockney.”
Read MoreArtists, it’s Year Three of the the Velocity Fund, a great juried local funding opportunity, which funnels up to $5,000 directly to you for new experimental and collaborative projects in Philadelphia.
Read MoreIn Part 2 of Andrea Kirsh’s annual roundup of the best in art books, there is something for everyone on your holiday gift list from lovers of figurative painting to abstract sculpture fans. There’s also something for everyone to learn, whether it’s about a previously under-appreciated regional artist or the most famous self-promoter in the history of Modern Art.
Read MoreMatthew Rose reflects on how artists, architects, and designers alike deal with objects that remind us of the dead. Catch a ride with Matthew as he explores the depiction of mortality dating back as far as the 16th century, and up to modern times.
Read MoreSpurred by seeing a recent ad in which artist Maurizio Cattelan appears, Matthew Rose reflects on the relationship between artists and advertising. He asks, why haven’t more artists appeared in or contributed to major advertising campaigns?
Read MoreAnd perhaps this last is one of the most significant points the exhibition makes: despite an international interest in the commercial vernacular and the visual impact of the media, the works in the exhibition can only be truly understood within the cultures that produced them. This leaves serious viewers with the realization that the information in many of the introductory labels is insufficient background for a real understanding of the art and how it functioned in its native territory.
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