Jason Farago, critic at large for The New York Times, writes about art and culture in the U.S. and abroad. In 2017 he was awarded the inaugural Rabkin Prize for art criticism.
His videos have made him one of the most acclaimed artists of his generation, but what really animates this British artist are the emotions that slip off the screen.
By Jason Farago
The father figure of modern painting also drew, every day. A show of the master’s ‘trembling outlines’ offers testimony to how a new kind of art was forged.
The museums are open. Few visitors have returned. It’s beautiful, but it can’t stay like this.
I’m a critic at large at The Times. Here are five things I've been watching, reading and listening to.
Individual absorption is the order of the day at two touring spectacles devoted to the painter’s greatest hits.
The German artist’s new exhibition at the Pompidou Center in Paris examines, with bitter humor, how digital technology shapes life offline.
It looks like a gentle scene of a seaside vacation. But this painting by Berthe Morisot, perhaps the most underrated Impressionist, is a layered vision of a dawning modern age.
No billowing sails of glass or glimmering titanium in the renovation of the museum’s Beaux-Arts home. Equally surprising are several new shows and the American galleries.
That the pandemic did damage to museums is unquestioned but their resilience has been remarkable.
Great examples of photography and editorial design abound at the Jewish Museum. (Catch the catalog, too.)