#museum-exhibition

#museum-exhibition

Not only is the painting-along with 39 others by Caravaggio and an international cast of Caravaggisti, as the Baroque artist's followers are known-making a rare trip from Florence to the U.S., it is presented unconserved, in its original state. "Maybe the varnish is a little yellow, or there are a few scratches," Thomas explains. "But you are seeing the brilliance of the artist's hand, which is unsullied and untouched."

SALEM - The final exhibition to fill the main gallery at the Hallie Ford Museum of Art this year is a delightfully eclectic collection of postwar African American art that is every bit as interesting as the story of how it came together is inspiring.

The Petersen Automotive Museum in Los Angeles opens a new exhibition, Performance and Prestige: A History of Aston Martin, tracing the British company's evolution from its 1913 origins. Installed in the Meyers Gallery, the presentation gathers more than a dozen vehicles that embody the changing language of speed and craftsmanship that has defined Aston Martin for over a century. The Aston Martin exhibition is the first in the museum's history.

A new exhibit at the Museum of Sex New York seizes on that topic with its exploration of nonconforming, experimental lifestyles and the marks they've left on our society. From now until April 12, 2026, experience history and culture through the lens of American cults and communes at " Utopia: Three Centuries of Sexuality in American Cults and Communes." The two-story show features more than 300 artworks, photographs, films, records, garments and rare artifacts from 20 historical intentional communities.

Sadly, despite belief the internet, technology, and evolved morality would open up global conversations in which every voice is heard and all people respected, real life threw up stop signs. In particular, within almost every sector and industry, the history, voices, and stories of marginalized people and communities continued to be largely overlooked, distorted, suppressed, erased, or most tragically, simply forgotten and faced with extinction.

RM will co-curate the exhibition with SFMOMA's Amé­rica Castillo and Hyoeun Kim. It will feature Korean artists active throughout the 20th century and beyond, such as Yun Hyong-keun, Park Rehyun, Kwon Okyon, Kim Yun Shin, To Sangbong and Chang Ucchin. Their works will be in conversation with pieces from SFMOMA's collection by Kim Whanki, Mark Rothko, Agnes Martin, Henri Matisse, Georgia O'Keeffe and Paul Klee.

Stepping through the doors of the Fashion and Textile Museum at the moment feels like stepping through the back of a wardrobe into a land where the air smells faintly of lavender sachets and starched lace, and everyone looks ready to promenade along a gravel path. Here, corsets whisper secrets, petticoats swish in approval, and gentlemen's coats stand at attention, ready for their next close-up.

And yet, not a century earlier, that name was near unknown to anyone who knew anything about the history of painting in France. In fact, it was a German art historian with prodigious visual recall, Hermann Voss, who in 1915 thought to connect two paintings in the Nantes Museum of Fine Arts (respectively signed "GS. de La Tour" and "G. de La Tour") with an unsigned canvas, titled Newborn Child, in Rennes.

They form part of a new exhibition looking at the rebuilding works that took place a century ago, replacing most of the interior behind its famous solid fortress wall with the modern bank that's there today. The exhibition, in the museum's rotunda, shows the various stages of the rebuilding process, from demolition of the old, discoveries of the even older in the basements, and how the current bank building was constructed.

Across the floor and walls sprawl grand mosaics and sculptures depicting lions, piles of gold, thunderbolts and ancient Roman gods. "When this building was created, it was designed as a working bank building. There were people coming and going all day," explains the Bank of England Museum's curator, Jenni Adam. "And immediately they were greeted with this sense of grandeur along with lots and lots of messages about what's happening in this site."

With loans from nearly 50 museums and private collections, nearly all the paintings were displayed in ornate gilded frames-which Van Gogh disliked. Van Gogh's The Large Plane Trees (Road Menders at Saint-Rémy) (December 1889) in a typical example of a French Baroque gilded frame-it has been on the painting since it was sold by the dealer Paul Rosenberg in 1947 Cleveland Museum of Art (photograph The Art Newspaper)

The exhibition, titled Gladiators: Heroes of the Colosseum, features remarkable artifacts like ancient bronze helmets, showcasing the intricacies of gladiatorial life and combat.