Arts

Arts

Seeing the Alhambra in Granada was an extraordinary experience for me. It was the first time that I understood painting as something other than an object hanging on a wall. I thought that paintings could be in a fixed place, made for that place, made for the light of the place, experienced kinesthetically.

"[The project] has finally restored the perception of the monument's original size and floor level," architect Stefano Boeri said in a statement. "It also offers the public the opportunity to approach its walls and imagine the rhythm and sequence of the ambulatories and arches, now lost. It's a respectful and useful project that completes research carried out by the archaeologists of the Colosseum Archaeological Park."

I realized there was pretty much nobody who is a famous 19th-century minstrel performer who was not an Elk. It just became synonymous.

The new webpage, entitled 'How have objects come to be in the V&A?', points out that for some objects, their journeys have involved known histories of violence, coercion or injustice, while for others there remains uncertainty over exactly how they came to be here.

"Until recently, there was no specific legislation addressing the forgery of artworks and collectibles. Instead, these cases fell under the 'smoother' general provisions of the criminal code concerning fraud and forgery, which required proof of a financial transaction in order for an offence to be established."

Polito's provocative argument is that the past 30 years of Bob Dylan's career are every bit as creative and essential as the first 30, challenging the notion that Dylan lost his way in the 1980s.

"The catalogue raisonné is incredibly meaningful to me. It's a nice reminder of the many things I've done, and seeing the documentation of decades of work allows for reflection and new insights."

George Costakis spent three decades hunting down, and saving, thousands of Russian and Soviet avant-garde works of art-at a time when they were hidden, vilified by the state and at risk of disappearing into history.

The work of such artists as Jackson Pollock, Mark Rothko, and Willem de Kooning wound up as part of a secret CIA program during the height of the Cold War, aimed at promoting American ideals abroad.

Sackheim's dramatically cinematic effects of deep shadows and crisp highlights suggest a kind of timelessness. Even the daytime shots feel eerily as if they could be shot during a full moon or amid uncanny artificial light.

The new programming features fictionalized depictions of a Christian-based theocracy ruling America and Silicon Valley moguls disrupting the world with their narcissism.

Yale came to me and said there isn't an overarching book about the history of printmaking; they wanted it to be about the printed image. There are a lot of books about printing-about the history of journalism or the history of books, the printing press and the printed word-but not so much about the printed image and its processes. So that was my challenge.

Joshua Johnson, born around 1763 in Maryland, was the first Black professional artist in the United States, overcoming the challenges of his early life as an enslaved person.

Julian Sklar, an artist past his prime, no longer paints and instead creates Cameos for his diehard fans, while his children seek to profit from his unfinished works.

The Basque government has made the transfer of Picasso's painting a matter of regional pride, viewing it as a gesture of historical remembrance and symbolic reparation toward the Basque people.

Critics warn the move may test or violate Mexico's strict laws protecting national cultural treasures. Authorities have now said the move is temporary—and the works will return in 2028—but the dispute has ignited a broader debate over cultural patrimony, transparency, and the role of private institutions in stewarding Mexico's artistic heritage.