The 1970s performance artist known for his guerrilla-style spectacles in costumes made from trash and found objects gets an overdue retrospective.
Author Archives: HOLLAND COTTER
The votive objects at Bard Graduate Center constitute an art form all their own — tokens that say “please” and “thank you.”
“Chalk: The Art and Erasure of Cy Twombly,” by Joshua Rivkin, the first biography of the artist, is a deeply personal work — as much about the biographer as his subject.
There’s more to love, with reservations, in the Houston museum’s Drawing Institute and its extraordinary inaugural show of Jasper Johns works.
There is plenty of art to see now in the nation’s capital, but three exhibitions stand out: Bill Traylor’s iconic drawings, Dawoud Bey’s haunting portraits and the savoir faire of Senegalese women.
A sweeping retrospective shows a personal side of the Pop master — his hopes, fears, faith — and reasserts his power for a new generation.
“Disappearing Acts” lets us see with clarity where the artist stands and why he is pertinent to our wrenching moment.
Two shows attempt to bridge the rift in a museum’s mission: to honor its Barrio roots — and reach a global audience.
She helped alter standard institutional presentations of African art by acknowledging its spiritually, socially and physically interactive character.