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Though he is best known in the West as a master of landscape printmaking, Katsushika Hokusai (1760–1849) not only designed prints of every subject, he also illustrated books and painted works ranging from formal screens and hanging scrolls to studies and sketches. The previously limited view of his art as a printmaker will be overturned by this exhibition, which provides an unprecedented opportunity to view the full range of Hokusai’s painting and to fully appreciate the diversity and talent of this major master of ukiyo-e. Charles Lang Freer (1854–1919) assembled an unmatched collection of paintings by Hokusai, and this… Full Review

The historic exhibition Hokusai contains almost 500 works (about 310 woodblock prints, 130 paintings, 40 published books, and 20 drawings) by Katsushika Hokusai (1760–1849), arguably the best-known Japanese artist outside Japan and the creator of the Great Wave (ca. 1831). According to the Tokyo National Museum press materials, there had been one other Hokusai exhibition of this scale, which was in Vienna in 1901. However, the exhibition at the Tokyo National Museum reflected a century of subsequent international scholarship. The exhibition follows a more focused Hokusai: Prints and Drawings (1991) at the Royal Academy of Art, London, with 133 prints… Full Review

This past summer, the Art Gallery of Ontario (AGO) in Toronto and the Albright-Knox Art Gallery in Buffalo, inspired by the history and legacies of their collections and even the buildings that house them, focused on abstraction—each with a major exhibition and accompanying publication: The Shape of Colour: Excursions in Colour Field Art, 1950–2005 at the AGO and Extreme Abstraction at the Albright-Knox. Responding to a bemused critic in a statement to the New York Times on June 13, 1943, Adolph Gottlieb and Mark Rothko, assisted by Barnett Newman, declared: “To us art is an adventure… Full Review

The recent exhibition, Depth of Field: The Place of Relief in the Time of Donatello, at the Henry Moore Institute in Leeds, focused on early fifteenth-century Italian relief sculptures from the collections of the Victoria & Albert Museum. Organized by Peta Motture, Glyn Davies, and Stuart Frost at the museum and by Penelope Curtis, Martina Droth, and Stephen Feeke of the Henry Moore Institute, it was the first exhibition to focus on Italian early fifteenth-century relief sculpture, and it presented the subject in a provocative and innovative way. Its specific purposes were to explore how the sculptures might be… Full Review

Although many of Jacques-Louis David’s best-known paintings are in French public collections, over the past century U.S. institutions such as the Cleveland Museum of Art, the National Gallery of Art, the Kimbell Art Museum, the Getty Museum, and the Clark Art Institute have managed to snap up significant works by the artist. The presence in the United States of these images, which date mainly from the Napoleonic Empire and David’s period of post-Napoleonic exile in Brussels, was the stimulus for an exhibition of David’s late work at both the Getty and the Clark last year. The exhibition was accompanied by… Full Review

On the evening I attended the Greater New York 2005 exhibition at P.S.1 Contemporary Art Center, I was surprised to find that the line queuing around the block was not there to see the works of one hundred and sixty of New York’s freshest artistic talents hanging in the galleries, halls, stairwells, bathrooms, and boiler room, but was waiting to join the mass of bodies slowly packing into the building’s courtyard. As it turns out, on summer Saturday nights P.S.1 hosts d.j.ed dance parties with liquor licenses (my admission ticket was a self-stick fiberglass wrist band). Much of the crowd… Full Review

The themes of parent-child relationships, migration, and colonialism resonate throughout the exhibition spaces of the two-pronged Venice Biennale, as well as in the national pavilions. Curated by María de Corral, the Experience of Art at the Giardini and the Italian Pavilion joins forces with Always a Little Further, curated by Rosa Martínez at the Arsenale, to engage visitors in an overall exhibition that cuts across several countries and time periods. Despite the often incongruous juxtapositions, viewers can self-curate a selection of works, making the overwhelming Biennale a more manageable exhibition. What follows is this reviewer’s attempt at lending some… Full Review

When Peter Parshall authored his standard work, The Renaissance Print, 1470–1550 (with David Landau; New Haven: Yale University Press, 1994), critical readers noted one significant omission: the earliest century of woodcuts before the generation of Albrecht Dürer. Perhaps it was because those works offered stark outlines and relatively little interior modeling, though they frequently were also colored to enhance their naturalism. Now the missing link has been forged. Drawing from extraordinary holdings of this material in their respective museums, Parshall and Schoch provide the first real study of early woodcuts since Arthur Hind in 1935 (though Richard Field, who contributes… Full Review