EditorialA tennis match on clay keeps no secrets. The red canvas is clean to start. Then, with each step, slide and bounce of the ball, two players paint the story. Over several hours, tennis becomes a form of abstract expressionism. (Pete Kiehart/The New York Times)
EditorialA tennis match on clay keeps no secrets. The red canvas is clean to start. Then, with each step, slide and bounce of the ball, two players paint the story. Over several hours, tennis becomes a form of abstract expressionism. (Pete Kiehart/The New York Times)
EditorialA tennis match on clay keeps no secrets. The red canvas is clean to start. Then, with each step, slide and bounce of the ball, two players paint the story. Over several hours, tennis becomes a form of abstract expressionism. (Pete Kiehart/The New York Times)
EditorialA tennis match on clay keeps no secrets. The red canvas is clean to start. Then, with each step, slide and bounce of the ball, two players paint the story. Over several hours, tennis becomes a form of abstract expressionism. (Pete Kiehart/The New York Times)
EditorialA gallery representing the Figurative Line/Abstract Line duality in the exhibition “Karl Lagerfeld: A Line of Beauty,” at the Metropolitan Museum of Art in New York, April 30, 2023. (Landon Nordeman/The New York Times)
EditorialA gallery representing the Figurative Line/Abstract Line duality in the exhibition “Karl Lagerfeld: A Line of Beauty,” at the Metropolitan Museum of Art in New York, April 30, 2023. (Landon Nordeman/The New York Times)
EditorialA gallery representing the Figurative Line/Abstract Line duality in the exhibition “Karl Lagerfeld: A Line of Beauty,” at the Metropolitan Museum of Art in New York, April 30, 2023. (Landon Nordeman/The New York Times)
EditorialA gallery representing the Figurative Line/Abstract Line duality in the exhibition “Karl Lagerfeld: A Line of Beauty,” at the Metropolitan Museum of Art in New York, April 30, 2023. (Landon Nordeman/The New York Times)
EditorialA gallery representing the Figurative Line/Abstract Line duality in the exhibition “Karl Lagerfeld: A Line of Beauty,” at the Metropolitan Museum of Art in New York, April 30, 2023. (Landon Nordeman/The New York Times)
EditorialA gallery representing the Figurative Line/Abstract Line duality in the exhibition “Karl Lagerfeld: A Line of Beauty,” at the Metropolitan Museum of Art in New York, April 30, 2023. (Landon Nordeman/The New York Times)
EditorialA gallery representing the Figurative Line/Abstract Line duality in the exhibition “Karl Lagerfeld: A Line of Beauty,” at the Metropolitan Museum of Art in New York, April 30, 2023. (Landon Nordeman/The New York Times)
EditorialA gallery representing the Figurative Line/Abstract Line duality in the exhibition “Karl Lagerfeld: A Line of Beauty,” at the Metropolitan Museum of Art in New York, April 30, 2023. (Landon Nordeman/The New York Times)
EditorialA gallery representing the Figurative Line/Abstract Line duality in the exhibition “Karl Lagerfeld: A Line of Beauty,” at the Metropolitan Museum of Art in New York, April 30, 2023. (Landon Nordeman/The New York Times)
EditorialA gallery representing the Figurative Line/Abstract Line duality in the exhibition “Karl Lagerfeld: A Line of Beauty,” at the Metropolitan Museum of Art in New York, April 30, 2023. (Landon Nordeman/The New York Times)
EditorialThe Colombian artist Fanny Sanín in front of her painting “Oil No. 4” (1968), one of dozens of Abstract Expressionist works on display at the “Action, Gesture, Paint” exhibition at London’s Whitechapel Gallery. (Ellie Smith/The New York Times)
EditorialRobert Whitman at a rehearsal of his 1960 Happening, “American Moon,” at Pace Gallery in New York, Jan. 16, 2023. (George Etheredge/The New York Times)
EditorialThe grand hall of the newly renovated Chippendale building, which includes artwork by Dorothea Rockburne, an abstract painter, in New York, Nov. 7, 2022. (Katherine Marks/The New York Times)
EditorialEquestrian portrait of William III, Prince of Orange, Equestrian portrait of William III. A command staff in his right hand. In the background a battle. At the top right a winged Faam blows on a horn. In her right hand a banderole with his name and tit...
EditorialBlack-and-White Storage Jar with Abstract Geometric Motifs. Acoma; Acoma Pueblo, New Mexico, United States. Date: 1890-1899. Dimensions: 46.4 ? 48.9 cm (18 1/4 ? 19 1/4 in.). Ceramic (earthenware) and pigment. Origin: New Mexico.
Editorialchair, Anonymous, 16th century, velvet, copper, oak, wool, General: 114 x 46 x 55.5cm 1140 x 460 x 555mm, animal, plant, Italian oak chair. The seat is covered with tapestry, au petit point, stitched on red velvet. The image is a lying young animal bet...
Editorialchair, Anonymous, 16th century, velvet, copper, oak, wool, General: 114 x 46 x 55.5cm 1140 x 460 x 555mm, animal, plant, Italian oak chair. The seat is covered with tapestry, au petit point, stitched on red velvet. The image is a lying young animal bet...
Editorialchair, Anonymous, 16th century, velvet, copper, oak, wool, General: 114 x 46 x 55.5cm 1140 x 460 x 555mm, animal, plant, Italian oak chair. The seat is covered with tapestry, au petit point, stitched on red velvet. The image is a lying young animal bet...
EditorialKiki Smith stands in front of her mosaic “River Light,” in the new Grand Central Madison station in New York, Nov. 10, 2022. (Vincent Tullo/The New York Times)
EditorialOne of the six resin honeycomb “lobes” that will form a giant abstract beehive at a new exhibit at the American Museum of Natural History in New York, Sept. 30, 2022. (Tony Cenicola/The New York Times)
EditorialTyre marks in Fair Meadow car park, Peterborough, Cambridgeshire, UK, on July 30, 2022, Peterborough, Peterborough, Cambridgeshire, England - 30 Jul 2022