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“When I think of art, I think of beauty. Beauty is the mystery of life,” minimalist artist Agnes Martin once explained. “It is not in the eye; it is in my mind. In our minds there is awareness of perfection.” In the first comprehensive survey of her art at the Tate Modern, in London, England, the exhibition Agnes Martin strives to guide viewers to that “awareness of perfection” Martin strove to embody in her minimalist, geometrically founded art. Rather than the cold, person-less brand of modernist minimalism, Martin’s work personifies the warm humanity of Buddhist editing down to essentials. At the same time, surveying Martin’s art and thinking allows us to revisit the feminist critiques of minimalism and shows how Martin’s stepping back from the bustle of the New York art scene freed her to find “a beautiful mind” — not just for women, but for everyone. Please come over to Picture This at Big Think to read more of "A Beautiful Mind: Agnes Martin, Minimalism, and the Feminist Voice."

When the Whitney Museum of American Art decided to stage in 1948 their first exhibition of a living American artist, they chose someone who wasn’t even an American citizen, but only legally could become one just before his death. Painter Yasuo Kuniyoshi came to America as a teenager and immersed himself in American culture and art while rising to the top of his profession, all while facing discrimination based on his Japanese heritage. The exhibition The Artistic Journey of Yasuo Kuniyoshi, which runs through August 30, 2015, at the Smithsonian American Art Museum in Washington, DC, unveils an amazing story of an artist who lived between two worlds — East and West — while bridging them in his art that not only synthesized different traditions, but also mirrored the joys and cruelties of them. Please come over to Picture This at Big Think to read more of "Between Two Worlds: The Unveiling of Yasuo Kuniyoshi."

Few American cultural institutions stared as deep into the yawning, austerity-driven abyss of large-scale deaccessioning as The Detroit Institute of Arts. When the City of Detroit declared bankruptcy in 2013, vulturous creditors circled the DIA’s collection, estimated worth (depending on the estimator) of $400 million to over $800 million. Some experts see signs of a Detroit comeback, however, but one very visible sign is the new DIA exhibition Diego Rivera and Frida Kahlo in Detroit, a showcase of the city’s ties to Mexican artists Frida Kahlo and Diego Rivera as well as a tribute to Kahlo’s and Rivera’s own artistic comebacks. Few exhibitions truly capture the spirit of a city at a critical moment in its history, but Diego Rivera and Frida Kahlo in Detroit is a show of comebacks that will have you coming back for more. Please come over to Picture This at Big Think to read more of "Comebacks: Frida Kahlo, Diego Rivera, and the City of Detroit."

Since the publication in 1983 of Hayden Herrera’s groundbreaking biography of Frida Kahlo, “Fridamania” in all its forms has flowered around the world. Her art and her appearance have become so intertwined thanks to her powerfully evocative self-portraiture that separating the two seems impossible. And, yet, Kahlo’s signature wardrobe itself eluded scholars for years, thanks to husband and fellow artist Diego Rivera’s request that Frida’s clothing and personal effects be sealed away for 50 years after her death in 1954. Since 2004, curators at The Frida Kahlo Museum, which stands at the site of the famous “Blue House” Kahlo and Rivera shared during their tempestuous marriage, have worked to conserve Kahlo’s clothing. Smoke and Mirrors: Frida Kahlo’s Dresses (a rough translation of the original Spanish title) allows the public not only to see her iconic tehuana dresses again, but also to see the prosthetics and supports Kahlo wore under those dresses to help her cope with her various physical disabilities. As amazing as it is to see Kahlo’s clothing resurface in all its color, I find it slightly disturbing to also see the braces and other devices she never wanted us to see. Smoke and Mirrors possesses a disturbing duality along the lines of Kahlo’s own painting The Two Fridas (shown above). Is opening Frida Kahlo’s wardrobe a triumph of feminist fashion iconography or crass “cripple chic”? Please come over to Picture This at Big Think to read more of :"Rediscovering Frida Kahlo’s Wardrobe: FeministFashion Icon or Cripple Chic?"

[Image: Frida Kahlo. The Two Fridas, 1939 (detail). Image source.]

Most short lists of greatest living artists will have names such as David Hockney, Gerhard Richter, (BigThink.com’s own) Ai Weiwei, Cindy Sherman, Damien Hirst, or Jeff Koons. But who would put filmmaker George Lucasat the top of that list? Critic and cultural agent provocateur Camille Paglia does in her latest book, Glittering Images: A Journey Through Art from Egypt to Star Wars. Part manifesto, part idiosyncratic beginner’s guide to art history, Glittering Images is, in Paglia’s words, “an attempt to reach a general audience for whom art is not a daily presence,” but for whom “[t]he only road to freedom is self-education in art.” In elevating Lucas to the top tier of artists, Paglia hopes to tap into “the force” that is popular culture and erase the culture boundaries that keep the elites in and the rest out. Please come over to Picture This at Big Think to read more of "Is George Lucas the Greatest Artist of Our Time?"

[Image: Obi-Wan Kenobi and Anakin Skywalker duel on Mustafar in George Lucas’ film Star Wars Episode III: Revenge of the Sith (2005). Image source.]

Although I risk impinging on the territory of fellow Big Think blogger Marina Adshade of Dollars and Sex, I can’t help but comment on a recent report in The Guardian titled “When art breeds success in the bedroom: Does success as an artist bring you more sexual conquests? Well, yes and no, say researchers.” Marc Abrahams, editor of the Annals of Improbable Research and chief organizer of the humorous and thought-provoking Ig Nobel prize, stumbled across an article in the Frontiers of Psychology titled “Status and Mating Success Amongst Visual Artists” written by UK researchers Helen Clegg, Daniel Nettle, and Dorothy Miell in which the trio argue that successful male artists have a lot of sex, whereas less successful male artists have less. When you talk about female artists, however, success means pretty much nothing at all when it came to their sex life. At the risk of going against their findings (and of sounding like Carrie from Sex and the City), is really true that great male artists have greater sex? Please come over to Picture This at Big Think to read more of "Do Great Artists Have More Sex?"