We know who the Filipino American Alfonso Angel Yangco Ossorio (1916–1990) was—a prominent Abstract Expressionist painter and a friend to both Jackson Pollock and Jean Dubuffet, the latter of whom regarded him as a fellow art brut master.

Olivier Mosset’s exhibition here, “Drive-In,” presented five elements, four of which were grouped into one ensemble: a short film titled LAST RUN AT MONTRIOND 14, 2004.

Each of the eleven oil paintings in this show, Enzo Shalom’s first with Bortolami, appeared tantalizingly singular.

Rebecca Ward first attracted public attention shortly after graduating from art school in 2006 for a series of architectural installations made entirely from lengths of colored electrical tape, which she wrapped, looped, and wove into dizzying Op-like configurations.

A Sylvia Sleigh (1916–2010) exhibition is a joy to behold. The warmth radiating from her affectionately painted group portraits, nudes, and landscapes helps us to visualize a harmonious pastoral utopia.

EIGHTEEN YEARS AGO, the social news aggregator digg.com reposted a Chicago Tribune report about a live website on which anyone could “shoot an Iraqi” via a remotely controlled paintball gun.

THERE IS LITTLE that is unruly in Veronica Ryan’s sculptural forms and arrangements.

Known for his striking portraits of high-society figures, John Singer Sargent was one of the most successful painters of his day.

Children Eating Grapes and a Melon, currently located in the Alte Pinakothek, is one of the most famous paintings by Bartolomé Esteban Murillo.

Self-Portrait with Her Daughter, Julie by Élisabeth Vigée Le Brun is a portrait masterpiece blending fashionable elegance and emotional naturalism. 

Originally titled A Portrait of a Young Gentleman, this iconic painting by Thomas Gainsborough was first presented at the Royal Academy exhibition of 1770.

Child’s Bath by Mary Cassatt is an iconic masterpiece featuring the love between mother and child. Let’s take a closer look at it.

The Met’s exhibition expands Black fashion history by centering ordinary individuals and their dress practices.

I wanted to hate these artworks, then I wished to poke my finger through their holes, and finally they became a perfect aestheticization of the contemporary moment.

In Nina Chanel Abney’s solo exhibition “Winging It” at Jeffrey Deitch Los Angeles the artist didn’t preach—but didn’t let anyone off the hook either—creating a space that focused on where people place their faith.