Walker Mimms

Thousands of tourists are descending on Aix-en-Provence, France, with the aim of knowing the elusive painter better.

The artist’s first museum tour luxuriates in the spacious and sophisticated folk-modernism he left behind, even as it unevenly canonizes a painter of the millennial era.

In “Stan and Gus,” Henry Wiencek explores the creative highs and private peccadilloes of the architect Stanford White and the sculptor Augustus Saint-Gaudens.

“Rogues and Scholars,” James Stourton’s erudite and authoritative history, doesn’t spare the color.

James Van Der Zee’s baroque, carefully composed funeral home photos illuminate century-old ideals of mourning and ritual in Black culture.

The most thematically permissive fair in New York’s art schedule — where sofas compete with paintings and sculptures — brings up old questions about why we like objects.

Art lovers call for the return of a shuttered carousel they say is the casualty of a boomtown razing its own visual heritage.

For an ambitious double-gallery debut, the Canadian painter improvised her way through glistening, musical, bulging and hideous fantasias on linen and on walls.

A spotty but thrilling tour of American art from Eisenhower to Nixon shows just how unhinged the ’60s were, and how hard it is to summarize the era.

Asia’s largest noncommercial art event recruited from all corners of the globe, “breaking the stereotypes of what it means to be making contemporary art in India.”