Egon Schiele, whose centenary is being celebrated at museums across the world, presents a unique lens through which to think about the line between art and exploitation.
Mr. Anderson and his partner, Juman Malouf, were given free rein in Austria’s largest museum. But you can’t make an exhibition as you would a movie.
Is it only within the context of romantic unrest that the best art can be made?
A concert cancellation underscores the persistent conflation of French Islam and radical Islamic terror.
Artist Trevor Paglen’s plan to launch a sculpture into orbit has drawn criticism from certain astronomers, but are they missing the point?
Should art be about depicting or creating an experience?
On the artist Gabriele Münter and freeing her from the shadow of Wassily Kandinsky.
For my new monthly column for The Paris Review, I will travel across Europe—from Copenhagen to Dublin to Berlin to London—searching out essential artworks and exhibitions that speak to a wider cultural context, such as our desire for wanderlust or the complexities of artistic romances. In this first segment, I explore the complicated burden placed upon the lovers, close friends, and heirs of famous artists after they die.
Contrasting approaches by two famous French cartoonists—Georges Wolinski and Plantu—show differing ways of poking fun at the powerful.
With President Macron poised to make changes to France’s handling of ethnographic art, the quai Branly would do well to follow suit—instead, they’re suspiciously dodging the issue.