The Secret History of Lee Krasner and Jackson Pollock
Zachary Fine reviews “Krasner and Pollock: Past Continuous,” a landmark show at the Met that shows how the painters advanced…
The Art World
admin Deana Lawson’s Subjects of Surveillance
In “Edge Control,” a new series featuring security-camera stills of suspected shoplifters, the photographer seems more interested in the surface…
Arthur Jafa’s Odyssey of Appropriation
Zachary Fine reviews the artist’s retrospective at the New Museum, which includes works such as “Love Is the Message, the…
Willem de Kooning’s Excavations of Intimacy
Hilton Als reviews “Willem de Kooning Drawing,” at the Art Institute of Chicago. The show articulates the artist’s pain and…
Matisse’s Ugliest Painting
Zachary Fine writes about the show at SFMOMA that partially re-creates the 1905 Salon d’Automne, where Matisse’s portrait of his…
Pope.L’s Pleasing Refusal to Be Interpreted
Zachary Fine reviews “Certainly an Act: Works on Paper,” a new show of Pope.L’s work at the Drawing Center.
Fairfield Porter’s Lush, Lonely Vision of the World
Zachary Fine reviews “Fairfield Porter: What Everyone Knows” at the Art Students League in New York City.
The Met Turns Orientalism Inside Out
Zachary Fine reviews “Orientalism: Between Fact and Fantasy,” an exhibit that hinges largely on the work of Jean-Léon Gérôme and…
The Met’s “Costume Art” Makes a Case for Fashion
From its new galleries off the museum’s Great Hall, the Costume Institute seeks to put clothing at the center of…
Edmonia Lewis, the Misunderstood Sculptor Who Brought Stone to Life
Zachary Fine reviews a Lewis retrospective at the Peabody Essex Museum of Art, discussing how Lewis changed nineteenth-century sculpture with…