In Raeda Saadeh’s photography series “Great Masters,” the artist challenges four well-known Western paintings. Aida Nasrallah writes about the works of one of the most interesting Palestinian artists, delineating the way Saadeh makes space for herself as an artist and a Palestinian woman who voices her political protests.
Before it arrived to the Tel Aviv Museum of Art, Yayoi Kusama's retrospective was shown at Gropius Bau in Berlin. Michal B. Ron visited the Berlin show and shares her thoughts on reflection, reconstruction, art history, and letters against apartheid.
A new essay in a series of reviews of books about art writing by Matt Hanson. This time, we delve into the writings of the New Yorker’s senior art critic, Peter Schjeldahl, who "thought of prehistoric cave paintings as contemporary an art as the latest politically-allied video installation in midtown Manhattan."
At the Stedelijk Museum in Amsterdam, the collection show “Chagall, Picasso, Mondrian, and Others: Migrant Artists in Paris” polished the art history of a century past with a gleaming, political immediacy. Matt Hanson reviews the show and its curatorial take on themes of increasing global concern.