Philip Kennicott

Washington, D.C.

Art and architecture critic

Education: Deep Springs College; Yale, BA in Philosophy

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.
Latest from Philip Kennicott

Maya Lin’s Vietnam memorial blazed a path in 1982, but no one followed

Maya Lin’s design of the Vietnam War memorial blazed a path in 1982. But other designers failed to follow.

November 16, 2022

Stop building museums on the National Mall

The Smithsonian prefers to build new museums focused on women and Latinos in a crowded location.

November 5, 2022

This new museum is a world away from D.C. stereotypes

The Rubell Museum DC, which opened Oct. 29, offers a robust critique of American hypocrisy in its first exhibition.

November 3, 2022

When activists attacked Van Gogh’s ‘Sunflowers,’ they affirmed its power

In the latest such incident, young activists splashed tomato soup on a glass-covered painting by Van Gogh at London’s National Gallery.

October 14, 2022

Exploring the architecture of Washington, beyond the National Mall

An updated guide book offers a tour of a vibrant city that holds much more than symbolic buildings.

October 13, 2022

So Vermeer did not paint ‘Girl With a Flute.’ Why think less of it?

National Gallery says the art is not by the Dutch master but is still in stellar company.

October 7, 2022

    A deeper understanding of the Obama White House portraits

    The Post's art critic Philip Kennicott examines newly-unveiled White House portraits of former president Barack Obama and Michelle Obama.

    September 7, 2022

    In new Obama portraits, a traditional but necessary nod to goodwill

    In a White House ceremony, the Bidens unveiled a painting of the former president by Robert McCurdy and a portrait of Michelle Obama by Sharon Sprung.

    September 7, 2022

    In Philadelphia, a monument to end all monuments

    Theaster Gates uses empty plinths to challenge our culture of hero worship.

    August 23, 2022

    Will the day come when the art of Robert Colescott isn’t shocking?

    The New Museum in New York surveys the confrontational, raucous, wild work of the 20th-century painter, whose goal was maximum discomfort.

    August 18, 2022