The artistic process rarely garners as much attention and appreciation as the finished masterpiece, but shaded charcoal figures, sculpted wax half-forms and rough wooden models–the staggered steps along the way to final creation–have their own magnificent beauty.
The breakthrough exhibition HOME—So Different, So Appealing, a seven-decade survey of works by Latin American and U.S. Latino artists who address the universal, elastic theme of home, draws part of its landmark status from its organizers, both encyclopedic museums, and the vast real estate they’ve given the show.
Degas: A New Vision will end its only U.S. presentation at the Museum of Fine Arts, Houston on Jan. 16, meaning its departure will roughly coincide with the fifth anniversary of director Gary Tinterow’s arrival from New York’s Metropolitan Museum of Art, where he spent the bulk of an impressive curatorial career.
The name Yayoi Kusama often conjures images of polka-dots spreading out into the infinite, and the odd pumpkin.
Beginning in 1852 and continuing for more than two decades, the French emperor Napoleon III, along with his apparatchik—Baron Haussmann, the Prefect of the Seine—embarked on a massive public works program to regularize and sanitize the medieval agglomeration that was Paris.