Why Impasto Never Really Went Away
The thick, tactile paint of the post-impressionists is having a quiet moment — and a new generation is finding freedom in the visible brushstroke.
After decades of conceptual dominance, a generation of artists is returning to the body — but with a new vocabulary. Inside the studios reshaping how we see the human form.
Read the story →The Oaxacan sculptor works at a scale that demands the whole body. We spent a morning in her workshop watching forms emerge from raw earth — and from something older.
The thick, tactile paint of the post-impressionists is having a quiet moment — and a new generation is finding freedom in the visible brushstroke.
Once the domain of monuments, bronze is now being stretched, hollowed, and reinvented by artists who refuse to treat it as fixed.
Digital tools promised infinite control. So why are so many illustrators trading tablets for nibs, ink, and the risk of a line you can't undo?
The crowds always cluster around the same three rooms. Here are the quieter pavilions that deserved more attention — and the work we're still thinking about.
The conversation around digital art has moved past novelty. The interesting work now happens in the seam between pixels and matter.
They were directed to the looms rather than the architecture studios. A century later, their textile work is being recognized as some of the school's most radical output.
A working painter's guide to overlooked colors — from caput mortuum to Maya blue — and what they bring to a palette that cadmiums cannot.
Street art grew up. The new muralists aren't tagging — they're commissioning, and the walls they paint reshape how neighborhoods see themselves.
Not everything is meant to soothe. An argument for the paintings that resist, that refuse to be hung above the couch, and why that refusal matters now.
A new wave of ceramicists is asking what a pot is for when it isn't for holding anything. The answers are stranger — and more beautiful — than you'd expect.