Fresh Take

Dean JF Hoy, Bones, 2023

Lost and Found: Exploring the Art World’s Reclamation of the Teddy Bear

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Art History Isn’t Just Haunted, It’s Impossible to Exorcise 

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Bride of Lucifer, Satanic Feminism in Cinema Before Nosferatu (2024)

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4. Upper Body of a Woman Leaning toward the Left

Paula Modersohn-Becker’s Drawings Deserve More Attention

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I Visited Frieze London With My Mum: Here Is What I Learned About My Career and Our Bond

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What Is an Art Fair Like on Psychedelics? Oda Iselin Sønderland Can Tell You

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The Booths Our Editors Don’t Want You to Miss at Art Basel Paris 2024 

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Pierre Alexandre Matéos and Charles Teyssou Give us a Lesson on the Avant Garde

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If You Saw Me at Frieze Yesterday, No, You Didn’t!

Art Living
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The Shift From the Traditional to the Intangible in Public Art

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Is Atlanta the Next Art Mecca? Curators Jackson Harris and Karen Comer Lowe Discussed the Inaugural Atlanta Art Fair

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Jean Genet and Angela Davis on Black-Palestinian Solidarity

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ORIGINAL BLUE NUDE

Has Matisse’s Nude Woman Become Void of Sexuality?

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Will Good Art Save Us From the End of the World?

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I Wait (Rachel Gurney) by Julia Margaret Cameron, 1872. The J. Paul Getty Museum, Los Angeles

The Return of the Angel in Modern Art

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Is Site a Character in Matthew Barney’s Work?

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Palma Plays Itself: A Scene Report From the Balearic Art Enclave

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Paris Review

Marisol: Proclaimed as the “First Girl Artist With Glamour” by Andy Warhol

Retrospect
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The World Awaits CFGNY’s West Coast Arrival

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The Ultimate London Gallery Weekend Itinerary

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Problem Girls: The Irreverent and Defiantly Unclassifiable Pippa Garner

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Not all that glitters is gold: Mexico City’s current art landscape

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Egeværk fair highlight_ DRIFT at Carpenters Workshop Gallery

Four Artists Exhibiting at TEFAF Share Their Fair Highlights

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A Dirty Mirror in the House of God: On Maurizio Cattelan’s Sunday and November

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