Teresa McCallum has been immersed in art her entire life, initially, influenced by her grandmother and mother, who were both artists.

In a bid to stay relevant, the Old Masters trade has been trying to draw in younger buyers to counter its shrinking collector base, which generally comprises wealthy, older men.

The Museum of Fine Arts Boston has returned two works of art to the Kingdom of Benin after 12 years in its collection.

It’s no secret that the art market has been mired in a prolonged slump for nearly two years.

In her performative self-portraits, Rosi speaks to experiences of the African diaspora across Europe.

This exhibition creatively interrogates the promises versus realities of Black liberation since the announcement of General Order No.3 in Galveston, Texas, while honoring the legacy of the United States Colored Troops (U.S.C.T.).

Halsey McKay Gallery is pleased to present Lock, Henry Glavin’s fourth solo exhibition with the gallery.

Skin cells are among the most rapidly renewed in the human body, only to be outpaced by varied gastrointestinal organs, elements of blood, and the cervix.

The Stade Museum recently concluded an exhibition titled AMANI kukita | kung’oa, rooted in a three-year research project into traditional Tanzanian cultures.

Peter Phillips, a founding figure of British Pop Art whose vibrant, iconoclastic canvases helped define a new visual language for Post-War Britain, has died at the age of 86. His family confirmed the news in a statement released on 2nd July.

Birds exert a strong attraction on people. They embody freedom, transcendence, speed and power.

Final weeks to visit Sargent and Paris at The Met Fifth Avenue.

A major work by Ernst Ludwig Kirchner, Sonntag der Bergbauern (Sunday of the Mountain Farmers), is about to leave the Federal Chancellery in Berlin.

Besides the baroque’s obsession with the fold, often erotically overwhelming or spiritually elevating the human body – or both at the same time - the fold as a formal and conceptual principle in art is rather rare compared to flatness and the straight line.

In Kerry James Marshall’s seminal 1986 work The Wonderful One, the figure is an ineffable silhouette: its dimensionality is reduced to a stark flatness, meticulously shaped with black charcoal on a white background.