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Get PocketI was sitting in the bathtub in 2008 when I thought of a simple way Johannes Vermeer (Girl with a Pearl Earring) might have painted his photorealistic pictures 350 years ago, long before the invention of photography.
Banksy Does New York, a new documentary airing on HBO on Nov. 17, opens on a bunch of scofflaws trying to jack an inflatable word balloon reading "Banksy!" from the side of a low-rise building in Queens. These hooligans weren't Banksy.
Ah, the Louvre. It’s sublime, it’s historic, it’s … overwhelming.
It happened at 6 on a Sunday night. Adam — a strapping, 6-foot-3-inch marble sculpture by the Venetian Renaissance master Tullio Lombardo — fell to the ground on a patio at the Metropolitan Museum of Art, smashing into hundreds of pieces.
There’s a sweet, small suburban house in the vineyards of Napa, northern California. Inside, a family of devout Jehovah’s Witnesses bustles around, offering me a cheese plate. A Siamese cat weaves in and out of my legs. Everything is lovely.
When Bruce MacGilpin was working toward his Master of Fine Arts degree nearly four decades ago, his final show was an installation of ziggurat-like structures sculpted from silica sand, a rich black substance that’s discarded from the industrial casting process.
At the Guggenheim, a Vision of Light: A look at James Turrell’s major installation that will occupy the atrium of the Guggenheim starting June 21. It was a beautiful Thursday morning in May, and everything was going wrong.
Among the abounding fascinations of Frederick Wiseman’s “National Gallery,” a three-hour documentary about the museum on London’s Trafalgar Square, is a leitmotif of lingering shots of solitary viewers of paintings. Looking at art may be the most unguarded action that we perform in public.
The rest of goes on to examine such eternal questions as what makes good art, what kind of art one should make, how art should be displayed, studied, bought and sold, and a heartening wealth more. Complement it with 100 ideas that changed art.
When the hammer came down at an evening auction during China Guardian’s spring sale in May 2011, “Eagle Standing on a Pine Tree,” a 1946 ink painting by Qi Baishi, one of China’s 20th-century masters, had drawn a startling price: $65.4 million.
Hal Lasko may be 98 years old, but while many of his peers devote their leisure time to shuffleboard and bridge, he has a very different passion: creating huge works of art pixel by pixel in Microsoft Paint.
The space where a Matisse painting hung in the Kunsthal museum in Rotterdam, the day it and six other artworks were stolen. Making money from stolen paintings — particularly famous ones — is not a straightforward matter, and those who try to do so fall broadly into two categories.
When a work of art is considered great, we may stop thinking about it for ourselves. Ian Leslie weighs the evidence
David Hockney wants to tell you a joke.
I recently attended an event at which a celebrated public radio personality attempted to interview a celebrated artist. “Attempted,” because he clearly did not understand her work and the spirit from which it sprang.