They say there are some musicians who are admired, and some who are loved. Imogen Cooper is very much admired, not least by other pianists, but as she marks her seventieth birthday on August 28, there can scarcely be any musician alive who is more truly loved.
October offers Bong Joon-ho's Palme d'Or-winning class-relations comedy, thirty-eight films set in urban Japan, and a series of pranks and pseudo-documentaries.
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 the first moments of the Druid theater company’s "Richard III" at John Jay College’s Gerald W. Lynch Theater, a wraith-like female figure slinks across the stage, trailing tattered veils. This is the deposed and widowed Queen Margaret a loser in Britain’s bloody Wars of the Roses. Her unscripted entry here suggests the curse she has placed, as we later learn, on the winners—the family of Richard of York, later King Richard.
A pioneering Nigerien filmmaker who has yet to enjoy due recognition for his prolific career as one of the most important figures of early African cinema, Moustapha Alassane almost single-handedly made the 1970s a high point for film production in Niger following the country’s independence from France in 1960. Ten of his short films, divided into three separate showings, will be playing at Metrograph in a retrospective of his work.
A rare screening of Billy Woodberry's documentary on beat poet Bob Kaufman, Errol Morris's portrait of Steve Bannon (shown with Bannon's favorite film), and Scorsese's best work in decades.
John Ruskin was a prescient critic of the industrializing world around him and an early witness of climate change, as Tim Barringer notes in "Unto This Last: Two Hundred Years of Ruskin," the catalog accompanying the exhibition of the same name currently showing at the Yale Center for British Art.
A more ambitious interdisciplinary survey of the black model—male and female—in French painting, sculpture, and photography from neoclassicism to Matisse, addressing the place of black and mixed-race artists, writers, musicians, and performers in French culture over more than 150 years.
This summer, sixteen years after he transformed the Turbine Hall, Olafur Eliasson has returned to Tate Modern with a retrospective exhibition, “In Real Life,” that ranges from his student days to special installations tailored to the occasion.
Two operas are the subject of “Verdi: Creating Otello and Falstaff,” a gem of an exhibition at the Morgan Library and Museum. Curated by Gabriele Dotto, the former director of publishing at Ricordi, Verdi’s publishing house, it affords an engrossing glimpse of the vast collaborative effort required to bring an opera into the world.
In 2019 attention has finally been paid to Andrea del Verrocchio with two splendid exhibitions, each accompanied by an ambitious catalog.
"To Fix the Image in Memory" lures us into committing energy and interest to something we are fated to forget. But the artwork leaves us with a lasting sense of possibility, an awareness of the largely unnoticed richness of the world.
The life-size recreation of Vienna's Fledermaus bar—by teachers, students, and archivists at the University of Applied Arts in Vienna—is undoubtedly the pièce de résistance of "Into the Night: Cabarets and Clubs in Modern Art."
There are two stories, one might say, being told at the American Folk Art Museum’s current show "Memory Palaces: Inside the Collection of Audrey B. Heckler."
A sense of excitement defines the Science Museum's show, “The Art of Innovation: From Enlightenment to Dark Matter,” as visitors zig-zag through 250 years of art and science.
The Blake exhibition at Tate Britain, the first major exhibition in nearly twenty years, shows 300 of his prints and paintings, with manuscripts and printed books, gathered from galleries and libraries across the world.
When you walk into "Baptized by Beefcake: The Golden Age of Hand-Painted Movie Posters from Ghana," an exhibition now at New York City’s Poster House, you are confronted by the stares of film heroes of the late Eighties and early Nineties—each with a distinctly Ghanaian rendering.
The Philadelphia Museum of Art has on long-term view a wonderful exhibition entitled “Horace Pippin: From War to Peace,” which brings together the museum’s small but choice collection of his work. How powerful Pippin can be is on full display in The Getaway (circa 1938–1939), though the artist’s assurance may be hidden at first by his inauspicious subject.