So what are today’s landscape artists telling us? In his eponymous show at the Hirshhorn, John Gerrard presents us with scenery that reflects a very different view of America. Rather than inspire us, the Irish artist constructs images that fill us with anxiety, hopelessness and a sense of imminent disaster. And we can’t look away.

This article is filed under Art, Art & Design.

The people of that ancient nation had been decimated in the opening genocide of modern times, victims of Turkish aggression during the First World War. “Who now remembers the Armenians?” Adolf Hitler exclaimed, as he and his Nazi lieutenants planned the Final Solution. The answer can be found lining the walls of the masterful exhibition in Philadelphia. Arshile Gorky remembered. “I shall resurrect Armenia with my brush,” Gorky declared in 1944, “for all the world to see.”

This article is filed under Art, Art & Design.

The first piece you see upon entering is Shapeshifter (2000), an enormous, abstracted whale skeleton built entirely out of white plastic chairs. Jungen’s leviathan is hung in front of a simple black wall and the contrast of colors intensifies its extraordinary power. Shapeshifter has the pristine, flawless texture of a mass produced object, yet somehow feels organic. You can easily imagine the enormous tale with its graceful, individually-carved vertebrae swinging to life.

This article is filed under Art, Art & Design, Native American.

And what a treasure trove! By the time of his death in 1951, Barnes had purchased 181 works by Renoir, 69 by Cezanne, 7 Van Gogh paintings, 59 works by Matisse, 11 by Degas, 16 by Modigliani, 46 Picasso’s, with 4 apiece by Manet and Monet. He also collected modern American works by William Glackens, Charles Demuth and Maurice and Charles Prendergast. His eclectic tastes extended to African sculptures, European decorative art, American folk art and quirky curiosities like an American Civil War surgeon’s saw.

This article is filed under Architecture, Art, Art & Design.

The experience of viewing “No Discipline,” the first major U.S. retrospective of the virtuosic, Israeli-born designer Ron Arad, is less like seeing an exhibition at the Museum of Modern Art and more like walking through a carnival funhouse. That’s intended as a compliment.

This article is filed under Art, Art & Design.

Perhaps what fascinated him about these portraits was that they show this urge to create and to communicate through art. More though, Alÿs’ display highlights the ways in which art inhabits a space of its own – outside of museums and critical appraisal. The works he has collected pay homage to the fact that it can be made anywhere, by anyone. The art changes and becomes personalized as it is interpreted and lived by individuals

This article is filed under Art, Art & Design, Mexico.

Not quite a century ago, on August 29, 1911, thousands of people began flocking to the Louvre (among them, Franz Kafka and his friend Max Brod) to gaze at a blank space on a wall. The 49-acre Louvre – still the largest museum in the world today – had been closed for most of the preceding week for the investigation of a singular occurrence: the most famous painting in the world had disappeared from that blank spot.

This article is filed under Art, France, Italy, Non-Fiction Reviews.

For someone who radiated pure joy, his beginnings were Deep South Dickensian. Born in New Orleans in August 4, 1901, his unwed mother was a sometime prostitute and his absent father worked in a turpentine factory. As an unsupervised child, he worked unloading boats and selling newspapers on the sidewalk. Evenings, he would stand outside nightclubs and listen to the great trumpet players of the day, including Buddy Bolden and King Oliver, who would later become his mentor.

This article is filed under African American, Art, Biography, Music, Non-Fiction Reviews.

Matisse, in an essay written many years later for another Philadelphia Museum of Art exhibition, appraised the new approach to art that Cézanne had bequeathed to him and other leading spirits of Modernism. “There is an inherent truth which must be disengaged from the outward appearance of the object to be represented,” Matisse wrote. “This is the only truth that matters …. Exactitude is not truth.”

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In 1921, the Constructivists announced the end of painting. To mark its passing they held the exhibition ‘5 x 5 = 25’ and declared that they would now only make art for everyday life; Productivism. The Tate has devoted a room to this last exhibition of painting, the highlight of which has to be Rodchenko’s ‘Pure Red Colour, Pure Yellow Colour, Pure Blue Colour’ (1921).

This article is filed under Art, Art & Design, Russia.