Jori Finkel

1 week ago | nytimes.com | Jori Finkel

The work of the African American quilters Laverne Brackens and Sherry Byrd, who continue the thread of the family tradition, will be on view at the Berkeley Art Museum. Still living cheerfully in her own home in Fairfield, Texas, at age 98, Laverne Brackens likes to entertain a steady stream of visitors. She has a fast-talking health-care aide who comes by three times a week.

2 weeks ago | theartnewspaper.com | Jori Finkel

Artemisia Gentileschi scholars and fans alike have reason to celebrate. After an extensive conservation by the Getty in Los Angeles, a major painting now attributed to the proto-feminist Baroque artist, which depicts a playful battle-of-the-sexes scene, is going on view at the museum (10 June-14 September). Experts say it has not been exhibited in public for at least a century—and possibly two or three.

3 weeks ago | nytimes.com | Jori Finkel |Ariel Fisher

Nadya Tolokonnikova previews her stamina-testing performance in a mock prison cell at the Museum of Contemporary Art in Los Angeles. Nadya Tolokonnikova previews her stamina-testing performance in a mock prison cell at the Museum of Contemporary Art in Los Angeles. Credit... Nadya Tolokonnikova, the founder of the feminist art collective Pussy Riot, has long experienced the threat - and reality - of government surveillance.

3 weeks ago | theartnewspaper.com | Jori Finkel

Of all the exhibitions in PST Art: Art & Science Collide, the $20m, Getty-funded initiative now wrapping up, the most ambitious in many ways was For Dear Life: Art, Medicine and Disability at the Museum of Contemporary Art San Diego (MCASD). The show told a story about visual art that emerges from physical pain and vulnerable bodies that defy social norms.

1 month ago | theartnewspaper.com | Melissa Gronlund |Jori Finkel

As Arab Modern art grows as a subject of interest among curators and scholars, the difficulties of conducting primary research on artists are becoming clear. Some archives and artworks are inaccessible due to conflict, while other material has been neglected. Families are reluctant to share personal records. And much of the writing about 20th-century Arab art is—unsurprisingly—in Arabic, which many researchers do not speak.