Featuring over one hundred writers in seventy events, the thirteenth installment of the PEN World Voices Festival will focus on the relationship between gender and power, and emboldened bigotry around the world.

To celebrate the publication of two major works by Junichiro Tanizaki, there will be a screening of Kon Ichikawa's acclaimed film adaption of The Makioka Sisters, introduced by Ian Buruma.

An air of unreality hangs over the astonishing exhibition of seventeenth-century Dutch etcher and painter Hercules Segers.

"Making Nature" is an exhibition that investigates our long history of trying to comprehend the wealth of the animal world, while also making us dizzily aware that we are, after all, animals ourselves.

An exhibition and concert series in Philadelphia survey the career of a mercurial and brilliant minimalist composer.

Now entering its third season, Heartbeat Opera presents two new adaptations: Madama Butterfly and Carmen.

May brings us Wojciech Has, 'The Saragossa Manuscript,' Jean-Pierre Melville, and Larry Cohen, 'Hermia and Helena,' and more..

Although drawn to abstraction, Vanessa Bell was adamant that her art needed some element of figuration, saying that 'the reason I think that artists paint life and not patterns is that certain qualities of life, what I call movement, mass, weight, have aesthetic value.'

A show of recent work from Joan Jonas — an influential, eighty-one-year-old artist who divides her time between New York and Nova Scotia — surveys her restless and eclectic career.

In many prints on display at the Japan Society, male youths are almost impossible to distinguish in dress and deportment from the female beauties in the same pictures.

The possibilities offered by red-figure vase painting intrigued the masterful fifth-century Athenian artist known as the "Berlin painter," who expanded the black background of his vases and diminished their red subjects to single, static figures.

A new show at the Andrew Freedman Home featuring art by previously or currently incarcerated artists demonstrates the diversity of artistic forms and expressions that have emerged within prison settings.

Howard Hodgkin’s paintings burn into eyes and minds, leaving a trace behind the eyelids, a memory to which we can return. Their voices collide, tumble, whisper, sing, shout.

Raymond Pettibon's drawings show the travails of a complex man haunted by private conflicts and quick to answer the voices in his head.

Diane Arbus took her New York park photographs during the day, but the figures they show sometimes look like creatures you’d expect to find at night.

June brings us Agnes Varda, D.A. Pennebaker’s Monterey Pop, Vittorio De Sica's Il Boom!, and more...

After he based himself at Éragny in his mid-fifties, Camille Pissarro started butting his canvases with tiny hog-brush flecks of hues that restaged the retina’s primal encounters with light.

The objects of Matisse's daily life delighted, inspired, or confounded him, in their humble ordinariness and in all that they evoked.

Unlike Monet, Camille Pissarro preferred canvas sizes intended to appeal, in their modesty, to the private collector, rather than to bid for public glory.

The Chinese have a better claim than most people of being heirs to a unified culture that began roughly in the third century BC. This idea forms the basis of the fascinating exhibition at the Metropolitan Museum of Qin and Han dynasty artifacts.

Barbara Grover's new series of photographs documenting hunger in America are being shown in an immersive, participatory exhibit hosted in an expandable trailer that travels from city to city.

A retrospective of Lygia Pape's work at the Met Breuer is highly conceptual but never loses a deep connection with the visceral realities of daily life.

The video artist Bill Viola has returned again and again to Florence to refresh his ideas, keeping up a long-running engagement with the work of the old masters.

The 1,590 papers and 19 objects—some disturbing, some mysterious and others creepily idyllic—that German conceptual artist Hanne Darboven (1941-2009) exhibited in 1983 are now on view at Dia:Chelsea.

Irving Penn's finest portraits prompted his subjects into remarkable revelations through posture and facial expression.

An exhibition at the National Gallery of Art surveys nineteenth-century America's evolving taste for the French painting of the previous century.

The razzle-dazzle exhibition “The Jazz Age: American Style in the 1920s,” attempts to define the elusive word at its heart.

Jamel Shabazz's photographs of New York street life are usually the result of consent, not a furtive snapshot—so people comport themselves with a bright, willful crispness, rising to the aesthetic occasion.

Few have the expertise to say why WWI was or wasn’t worth fighting. The war itself, though, is vividly, viscerally remembered through a series of images, stories, and rituals.

Curator Andrew Bolton, in collaboration with Kawakubo, has selected nearly 150 pieces—which vary from large, sculptural dresses to intricate and often elaborate multi-textured works— from throughout her career.

Everything in Sara Berman's closet, now installed at the Met, is white and beige and simple and beautiful and funny and beautifully organized.

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.

At this time of year opera leaves London for the shires, and the phenomenon known as country-house opera begins.

In her Jazz Age paintings, Florine Stettheimer conveyed a sophisticated self-awareness of the confining assumptions facing a hardworking woman artist between the wars.

A new exhibition at the Art Institute of Chicago surveys Saul Steinberg's electrifying work.

Three outstanding exhibitions in England—and two more shows to come—suggest the richness and range of the Royal Collection.

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.