Welcome to Warhol’s world.
Carrie Mae Weems may be our best contemporary photographer.
Williams’ paintings explored love, desire, and loss, too.
Accompanying a contestant to a pro-level Galaga tournament to discover how many digital space bugs you have to destroy to find renown, community, and a modicum of inner peace.
Carolita Johnson looks back on the many ways she’s tried to juggle work with her *work.*
Adrian Piper’s body of work encourages audiences to think critically about race, gender, and power, and to engage with their own perceptions.
Henry Taylor’s portraits are sacred objects that lovingly center black subjects and black interiority.
“Key West’s brand of camp reflects Wolkowsky’s understanding — never on the nose, always sideways, a place where anonymity feels like an innate right.”
In the first war, Joseph Gray used his art to reveal his fellow soldiers. In the next war, he used it to hide them.
Arcis is a new art storage facility in Harlem that offers its clients a Foreign Trade Zone. But are they selling the art world a luxury tax haven, or just banking on confusion?
Did Dana Schutz’s painting engage with her subject, Emmett Till, ethically and responsibly?
A reminder, courtesy of Pussy Riot’s Nadya Tolokonnikova.
How one London man transformed his house into a work of art, and a physical love story to the people he’s lost.
In the summer of 2014, Kara Walker’s sphinx posed a riddle about women, sweetness, and power.
Curator Michael Auping on the forty years he spent interviewing artists in their studios.
Why a rare Pepe meme is now easier to authenticate than a Leonardo.
Abigail Rasminsky dreamed of becoming a professional dancer. Then she got hurt.
We asked writers and editors to choose some of their favorite stories of the year in various categories. Here is the best in arts and culture writing.
On the artists who labor to keep Austin weird and glowing brightly.
In his review for the New York Times, Holland Cotter writes that the museum fails in “truth-telling.”
Does art exist in the world of personality and petty grievance and predation, or does it float in a morally-neutral ether? Depends who you ask.
The space has become a vital convening point for creatives, culture workers, and audiences interested in ideas of black excellence.
The artists who use Craigslist to find subjects and ideas have found a willing group of participants unfazed by unusual encounters.
The poet and one-time presidential candidate isn’t the least bit surprised by the state of our union.
The work of artist Jimmie Durham relies heavily on Native American themes. Durham is not Native American.
The staff at Laney Tower take a close look at the past, present, and future of Oakland’s artistic community.
At Guernica, Katherina Grace Thomas turns a lens on the years Nina Simone spent in Liberia in the mid-1970s.
At Harper’s, Smith doesn’t really feel like she is engaging in her subject matter with much care or heart.
For the high-wire artist, living in fear is the definition of death.
Hilton Als on photographer Diane Arbus’ uncanny ability to capture the humanity of her marginalized subjects.