This year’s Venice Biennale was designed to be the most intimate and reflective in recent memory. Instead, it has turned into the most politically clamorous.
Clifford Thompson writes about his life as an artist and his preoccupation with the passage of time, a theme on display in his new show, ‘Color and Mystery.’
The question at the center of 'Amahl and the Night Visitors' is what generosity looks like—and whether one needs material possessions in order to be truly generous.
In ‘The Last Supper,’ Paul Elie tells the stories of artists whose struggles with their own religious beliefs amid the AIDS pandemic inspired often-controversial art.
A retrospective at the Jewish Museum draws attention to Ben Shahn, whose art tells the story of twentieth-century life from the perspectives of immigrant workers, tenant farmers, and city-dwellers.
It’s long been a truism that Catholics don’t actually read the Bible — at least not as much or in the same way as their Protestant brethren. But they still encounter it.
There are two difficulties with writing about Michelangelo’s frescoes in the Sistine Chapel. One is saying anything fresh about them. The other is seeing them at all.
A new staging of ‘La forza del destino’ offers audiences the chance to ponder the paradoxes at the heart of what is often considered Verdi's most “Catholic” opera.
She had no spite or worldly cunning, but she refused to massage the egos of those around her or to conceal her overwhelming belief in the rightness of her vision.
