Simon Rattle's last year as the head of the Berlin Philharmonic—he has been conducting the orchestra to great acclaim since 2002—is the last chance to see his energetic conducting style at work in the orchestra's acoustically superb concert hall.
Everything in Sara Berman's closet, now installed at the Met, is white and beige and simple and beautiful and funny and beautifully organized.
The New York Review and ChinaFile co-host the launch of a new book by the former Financial Times correspondent Richard McGregor, in which he considers how China and Japan's long-smoldering enmity threatens not only America's position in the Pacific but also the global economy.
In Lynette Yiadom-Boakye’s seventeen unframed portraits of black people, the paint continues to the edges of each canvas. There are no titles or wall texts beside them; with one exception, they are all of one person or of one person and a cat or a bird.
'Henry James and American Painting,' a compact but wonderfully heterogeneous show at the Morgan Library, includes a round dozen of his many portraits; more probably than have ever been gathered in one place before.
The Morgan has brought together nearly one hundred relics of this American saint, including the small green desk on which he wrote most of his life work, the flute with which he enchanted Margaret Fuller and other humans and nonhumans alike, as well as more than twenty of his Journal notebooks.
Since 2011, the filmmaker Amit Dutta has been making beguiling movies centered on Indian painting and sculpture. A weeklong survey of Dutta's work at the Pacific Film Archive at Berkley — including a preview screening of his new film The Unknown Craftsman — gives US viewers a rare chance to track the development of his distinctive sensibility.
In her Jazz Age paintings, Florine Stettheimer conveyed a sophisticated self-awareness of the confining assumptions facing a hardworking woman artist between the wars.
Caravaggio's restraint shows when we compare his work with that of his admirers. It demonstrates why the painter exerted such an overwhelming influence on patrons and colleagues alike, and why he is so passionately loved today.
September brings us retrospectives of Kelly Reichardt and Samuel Fuller, week-long runs of films by Deepak Rauniyar and Arturo Ripstein, and ten recent restorations from the UCLA Film & Television Archive.
At this time of year opera leaves London for the shires, and the phenomenon known as country-house opera begins.
This sesquicentennial tribute to Frank Lloyd Wright is organized around a mere twelve projects, including rarely discussed unexecuted designs such as the architect's Depression-era plans for a self-sufficient agricultural community and his postwar scheme for the world’s tallest skyscraper.
A new exhibition emphasizes the contributions of the illustrator Hilary Knight to the creation of Kay Thompson's regal children's literature star.
Professor Emmanuelle Ertel will moderate a discussion on translating the work of Jean Giono with Paul Eprile and Alyson Waters.
A new exhibition at the Art Institute of Chicago surveys Saul Steinberg's electrifying work.
Derain, Balthus, and Giacometti were determined to revisit the relationship between art and reality following the revolutions of early-twentieth-century artists. They wanted to discover a new, moonlit truth.
The photographs Henri Cartier-Bresson took in India between 1947 and 1980 are quiet, self-effacing, and resolutely static. Even when he shoots in crowds, as he does at a cattle sale, there is little sense of movement or noise.
Three outstanding exhibitions in England—and two more shows to come—suggest the richness and range of the Royal Collection.