Getting Paint Off the Wall
Starting with cheerful spills of industrial materials, Lynda Benglis has teased the limits of taste, eroticism, and the male-dominated art world. Read More
Top Posts
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Profiles
A New Look at an Edgy Realist
The visionary landscapes of Charles Burchfield come to the Hammer Museum in a major show curated by contemporary sculptor Robert Gober. Read More
Where Pharaohs Meet Mad Max
Raw brutalism and gritty humor underlie Huma Bhabha's antiheroic monuments. Read More
Standing By His Bid—Unless He Sat
Norton Simon's secret bidding signals were so convoluted that they often worked against him. Read More
The Other Americans
Photographer Justine Kurland takes her camera on the road across the country to capture communes, hobos, and other subcultures that are often off the radar. Read More
Man of a Thousand Faces
Filming portraits for his acclaimed glass-brick foundation in Chicago, weaving the alphabet into a giant steel figure in Des Moines, and staging a tower of cymbals for Dubai's newest skyscraper, Jaume Plensa brings a sense of spectacle and intimacy into monumental public sculpture. Read More
Seriously Funny
Swiss prankster Olaf Breuning navigates between the sublime and the ridiculous in films, sculptures, and multimedia works that take on everything from Easter Island to Woody Allen. Read More
Clothes Connections
Shinique Smith transforms piles of garments destined for export into eye– and thought–provoking installations. Read More
Taking It to the Limits
Marina Abramović’s performances, feats of endurance involving self-denial and even self-mutilation, are so influential that MoMA has asked 35 artists to re-create them for an upcoming retrospective—and so provocative that it is building a separate entrance for the show. Read More
Slikwiks, Pennyworts, and Sea Urchins
Phoebe Washburn transforms humble materials into something unexpected and extraordinary. Read More
When Irving Penn Shot Real Women
The nudes Steichen found problematic. Read More
Hope, Glory, Manet, and McDonald’s
Wang Qingsong's elaborate, often parodic staged photographs riff on everything from art history to corporate logos to Communist propaganda. Read More
