Queen of Double Eyes, that’s how Toronto-based artist Alex Garant introduces herself when she stands next to her mind-bending double vision oil paintings.

Spirit Drawings review – awe-inspiring visions of a Victorian medium. By Jonathan Jones.

 Pauline Boty was an artist, activist, actress and model.

Making art at the bottom of the world, where paint freezes and the best subjects are millimeters long.

Jenni Quilter reviews “Restless Ambition: Grace Hartigan, Painter” by Cathy Curtis.

Niki de Saint Phalle’s sculpture park, dreamed up in an asylum, was the capstone of a tempestuous life in art. By Ariel Levy.

His cult comic Megg, Mogg and Owl riffs on depression and addiction. Now the TV networks want a part of it. Hanselmann speaks about his love-hate relationship with 4chan, breaking into building sites and life as ‘sentient meat.’ By James Reith.

Anish Kapoor, the famed sculptor, who created the ArcelorMittal Orbit sculpture for the 2012 Olympics, has provoked the fury of fellow artists this week by acquiring the exclusive rights to use the blackest shade of black in the world.

A new generation of sexually fluid pop artists are smashing through gender stereotypes.

Thomas Blanchard

A petri dish is her canvas, and the microbes are her paint. By Jacqueline Howard.

Nicholas Roe reviews “Eternity’s Sunrise: The Imaginative World of William Blake” by Leo Damrosch.

I love photographic fine art and this top 10 has some very nice female artists. Ofcourse this is only the opinion of this gallery.

A self-taught graphic designer pushes back against the industry’s stale visuals. By Simon Parkin.

And a golden age for comics. By Robert Ito.

Sometime in the late 1970s, Miriam Schapiro and Elaine Lustig Cohen gathered a group of feminist artists and writers around my dining room table with a proposal… By Joyce Kozloff. (Jan. 2)

Critic Agata Pyzik’s 2014 book, Poor But Sexy: Culture Clashes in Europe East and West, situates Bowie at the heart of Cold War pop culture. Here, she explores Bowie's role in uniting disaffected young people on both sides of the Iron Curtain.

Hans Ulrich Obrist talks to America’s foremost auteur about the principles powering his unique vision

Lavender and gold silhouettes of soldiers on horseback, waves, and a kneeling figure overlap on the flat plane of Aaron Douglas’s “Let My People Go” (1935–39)... By Allison Meier.