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The Parrish Art Museum will present the new exhibitions for the upcoming 2024 fall season.

The Treasure House Fair is an enjoyable chance to escape the world’s problems. Or is it? Strolling round the 70 stands of art, design and curiosity, I found many items of interest referred to conflict or trouble…

The color red has held deep symbolic resonance throughout time and across cultures since red pigment made of ochre was employed in cave paintings.

The London-based American painter’s reputation has been clouded by an extraordinary 1990s media spat that he believed caused the death of his wife. But Kitaj led the way for greats like Lucian Freud and Hockney.

Plus: a mini-retrospective at Piano Nobile is a reminder of how exceptional an artist R.B. Kitaj was.

In Kitaj’s work, the whole is an extravagant layering of several images into one.

Piano Nobile, London The weight of history hovers over this American postwar figurative artist who settled in the UK, with an increasing focus on the experience of Jews.

Painting has been declared dead many times as it has reeled under the double-barrelled attack of photography and conceptual art.

The 32nd edition of British Art Fair opens this week presenting its annual showcase of the very best Modern British and Contemporary British Art, elegantly installed throughout the museum-style interiors of Saatchi Gallery, London.

The Beaverbrook Art Gallery recently announced a major donation of Canadian and International art from the late Mark Schwartz that will now be part of the gallery’s permanent collection.

This exhibition of newly acquired screen prints by artist R.B. Kitaj (1932–2007), now on view at Huntington Art Gallery, depicts hyperrealistic replicas of well-loved book covers, exploring the intersection between literary and visual arts.

The Huntington Library, Art Museum, and Botanical Gardens announced today that it has acquired a newly discovered painting by John Singleton Copley (

How can visual art change our perception or at least cause surprise? The reconfiguration of what we’ve come to expect fascinates and gives way to new vistas onto the world.

I’ve just been reading a remarkable book, published last year, that seems to have received almost no attention here in Britain, save for a brief anonymous review in The Guardian. There also nothing much about it that I can discover, published in the United States.

At the Sotheby’s contemporary art sale in London next week there are no million-pound Basquiats or £500,000 Hirsts – it is aimed at what it terms the lower end of the market, i.e. art under £20,000 and for as little as £200.