From the Art Institute of Chicago website:
Warhol, with obvious self-deprecation, described his philosophy as spanning from A to B. As this exhibition decidedly proves, his thinking and artistic production ranged well beyond that, but his true genius lies in his ability to identify cultural patterns and to use repetition, distortion, and recycled images in a way that challenges our faith in images and questions the meaning of our cultural icons.
This major retrospective—the first to be organized by a US institution in 30 years—builds on the wealth of new research, scholarship, and perspectives that has emerged since Andy Warhol’s early death at age 58 in 1987. More than 400 works offer a new view of the beloved and iconic American Pop artist, not only illuminating the breadth, depth, and interconnectedness of Warhol’s production across the entirety of his career but also highlighting the ways that he anticipated the issues, effects, and pace of our current digital age.
Things take an even stranger turn when he gets to Egypt, and his own features still appear again and again; not, as before, as a barely significant detail in an otherwise busy composition, but as a principal element. In a series of fine single-figure paintings brought together at the Watts Gallery, Lewis represents himself as a Syrian sheikh scanning the horizon of the Sinai desert; as the suave ‘bey’ of a Cairene household, lowering his eyelids as his servant offers him a water pipe; as an impassive carpet-seller in the Bezestein bazaar
Revere’s place in history was cemented by 
The exhibition was organized by the 
But there is nothing quite like the mind-bending spectacle now on display at dusk in the hills of Paso Robles here, a popular wine destination. That is the witching hour when thousands of solar-powered glass orbs on stems, created by the artist Bruce Munro, enfold visitors in an earthbound aurora borealis of shifting hues.
The works on view illustrate how Klee responded to his personal difficulties and the broader social realities of the time through imagery that is at turns political, solemn, playful, humorous, and poetic. Ranging in subject matter, the works all testify to Klee’s restless drive to experiment with his forms and materials, which include adhesive, grease, oil, chalk, and watercolor, among others, resulting in surfaces that are not only visually striking, but also highly tactile and original. The novelty and ingenuity of Klee’s late works informed the art of the generation of artists that emerged after World War II, and they continue to hold relevance and allure for artists and viewers alike today.
Witness to the radical aesthetics that gripped Paris in the late nineteenth and early twentieth centuries, Vallotton developed his own singular voice. Today we recognize him as a distinctive artist of his generation. His lampooning wit, subversive satire, and wry humor is apparent everywhere in his artistic production. Vallotton’s trenchant woodcuts of the 1890s solidified his reputation as a printmaker of the first rank while boldly messaging his left-wing politics.
dozen lenders. Swiss-born and Paris-educated, Vallotton (1865–1925) created lasting imagery of fin-de-siècle Paris.
The 
This fall, The Frick Collection will present the first-ever exhibition on the Florentine sculptor Bertoldo di Giovanni (ca. 1440–1491), a renowned student of Donatello, a teacher of Michelangelo, and a great favorite of Lorenzo “il Magnifico” de’ Medici, his principal patron. More than twenty statues, reliefs, medals, and statuettes — constituting nearly his entire extant oeuvre — will be on view exclusively at the Frick, which houses the only sculptural figure by Bertoldo outside of Europe. The exhibition will
highlight the ingenuity of the artist’s designs across media, including bronze, wood, and terracotta, and provide the first chance to fully explore longstanding questions of attribution, function, groupings, and intended display. Bertoldo di Giovanni: The Renaissance of Sculpture in Medici Florence will bring into focus the sculptor’s unique position at the heart of the artistic and political landscape in fifteenth-century Italy.
This focused installation features pastels by four artists whose work was shown in the Impressionist exhibitions: Mary Cassatt, Edgar Degas, Eva Gonzalès, and Berthe Morisot. Their subjects range from scenes of modern life, such as ballet performers and a woman working in a hat shop, to depictions of intimate moments of bathing and women with children.
Pastel, a medium used to draw on paper or, less often, on canvas, is made by combining dry pigment with a sticky binder. Once artists have applied the pastel to the surface, they can either blend it, leave their markings visible, or layer different colors to create texture and tone. Pastel portraits had previously gained popularity in France and England in the 18th century, but fell out of fashion with critics when pastel was deemed too feminine; not only was it used by women artists, but it had a powdery consistency similar to women’s makeup. The Impressionists rejected this bias and instead embraced the medium’s ability to impart immediacy, boldness, and radiance.
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