A quiet revelation to visitors who are primarily attuned to the arts of the West, this is a strange and lovely show of nineteenth-century Japanese woodblock poetry prints.

It is tempting to credit Hilma af Klint with a protofeminist synthesis of folk art, scientific illustration, and spirography, but her explanation was simpler: “Amaliel draws a sketch, which H then paints.”

In a retrospective now at the Jewish Historical Museum in Amsterdam, which includes 150 photographs from before and after World War II, one can see how sincerely Chim believed that photography, by influencing public opinion, could help change the world.

Beyond bringing French photography to the American public, Stettner’s own work was distinctive for blending the social engagement of American street photography with the poetic sensibility of the French humanist tradition.

Mimesis: African Soldier, a video installation at the Imperial War Museum in London by the British artist and filmmaker John Akomfrah, gives poetic expression to the sense of rewards due yet withheld.

Two of the most beguiling musical events in England this autumn are linked by one group, the Nash Ensemble of London, and one woman, its founder Amelia Freedman. The Bath Mozartfest opens at the Assembly Rooms, and "German Romantics" continues at Wigmore Hall.

In tandem with presenting queerness as a category of experience and identity in art, the Whitney show gives us an insight into the young Warhol: Andy with a sketchbook, Andy the fan, the fashion Andy, Andy the ardent youth dreaming a life of style and erotic possibilities.

The first academically trained Turkish female photographer, Yıldız Moran is enjoying a much deserved revival in Turkey, with some of her photographs being exhibited for the first time.

While it should be possible for someone looking at Pat Steir's paintings to feel that they depict or suggest the flowing of water downward over rock or stone, that is to miss the point of works that are concerned much more with the potential of paint than the need to represent something in nature.

In “Graciela Iturbide’s Mexico”—a magnificent exhibition of approximately 125 gelatin silver prints at the Museum of Fine Arts, Boston—five decades of an extraordinary visual intelligence are on display.

The figure of Mansa Musa looms at the center of a major new exhibition, "Caravans of Gold, Fragments in Time," that recently opened at the Block Museum of Art in Evanston, Illinois.

This month offers classics from Portugal, Mikhail Kalatozov’s paean to the Cuban revolution, and a restoration of the most expensive movie in history—Sergey Bondarchuk's War and Peace.

Don McCullin has spent the best part of sixty years if not looking for trouble, then certainly finding it—in Cyprus, the Congo, Vietnam, Northern Ireland, Lebanon, Syria. “War is hell” and “man’s inhumanity to man” could be the mottos of his photography.

An exhibition drawn from the collections of the Birmingham Museums begins its story with those it calls, paradoxically, “the pre-Raphaelite avant-garde.”

Equally objective and empathic, working as if he were partly a photographer and partly a psychologist, Giovanni Battista Moroni could capture in each of his subjects what a viewer believes is that person’s fundamental self.

Thirty years before Leonardo da Vinci developed his famous sfumato modeling and immortalized Lisa Gherardini del Giocondo with an enigmatic smile, Antonello had already mapped the highlights and shadows of the human face as abstract patterns in themselves and as clues to the puzzle of character.

Now exhibited at the Fondation Henri Cartier-Bresson, Guy Tillim’s work documents various African capitals where the signs of two revolutions can be seen in contemporary street life.