Drawing by Martín Ramírez, one of the most famous self-taught artists of the 20th century, was found in 2009.
Museums should look at the sad story of Detroit and figure out a way to avoid putting art in peril.
The old Franklin School would be the perfect place for a museum that focuses on bold work by living artists.
Detroit center of debate over importance of art.
ARCHITECTURE | New building at Fort Worth museum both contrasts, complements Kahn classic.
The world’s design critics have noticed that plans for a new stadium look a lot like “lady parts.”
First of two exhibits of photographer’s work at Portrait Gallery includes images of Churchill, O’Keeffe.
Lost in most stories about the business of art, its value, sale and provenance, is any discussion of the emotional aspect of ownership.
Russian artist Pyotr Pavlensky, the 29-year-old man who nailed his scrotum to the paving stones in Red Square last Sunday, it seems is perfectly sane.
If the public is being sold a fantasy about a second Mona Lisa, there is something appealing about a new version.
Fernand Léger’s paintings, on display at the Philadelphia Museum of Art, often feel like a pleasant respite.
An exhibit at the National Building Museum explores the extraordinary modern history of Los Angeles.
David Ward, one of the co-curators of the Hide/Seek exhibition of gay portraiture, has been appointed Senior Historian of the museum.
Trove of missing and looted art, hoarded for decades in a Munich apartment, is a collector’s dream.
The Post’s Philip Kennicott and digital artist Alex Rivera discuss what “Latino art” means today.
Art critic Philip Kennicott’s review of a new exhibition at the Smithsonian, “Our America: The Latino Presence in American Art” ignited strong reactions from some Latino artists.
A new exhibition at the Hirshhorn explores our fascination with destruction.
Exhibition on the Latino presence in American art opens at the Smithsonian American Art Museum.
If you can think beyond the classical era and the Renaissance, you’ll see an artistic beacon in the “Dark Ages.”
A rug woven by orphans as a sign of gratitude for U.S. aid during the Armenian genocide remains unseen.
Philip Kennicott is the Pulitzer Prize-winning Art and Architecture Critic of The Washington Post. He has been on staff at the Post since 1999, first as Classical Music Critic, then as Culture Critic. In 2011 he combined art and architecture into a beat that is focused on everything visual in the nation’s capital.