Art resources for teachers

This is The Scream by Edvard Munch. It’s one of the most iconic paintings in art history, but it wasn’t always that way. When this piece was first exhibited in 1895, they called the artist insane and a madman. But why did Edvard Munch paint an experience like this? Why did his work scandalize audiences back then, when it’s so embraced now? Why is the sky like that? And why did Munch make himself an amorphous alien creature instead of the human being that he was? We’re going to get to the bottom of it, but are you prepared for how far the bottom actually goes? We shall see… Thank you for watching!

Louise Bourgeois, Maman, 1999, bronze, stainless steel, and marble, 9.3 x 8.9 x 10.2 m (Crystal Bridges Museum of American Art, Bentonville) © The Easton Foundation

Ala Ebtekar, Thirty-six Views of the Moon (Winter Edition), 2018, 59 cyanotypes on found book pages exposed to moonlight, 238.8 x 335.3 cm (Crystal Bridges Museum of American Art, Bentonville) © Ala Ebtekar

R. Buckminster Fuller, Fly's Eye Dome, 1961–65, fabricated c. 1980 (restored by Robert Rubin), fiberglass reinforced polyester, 38 x 50 x 50 feet (Crystal Bridges Museum of American Art, Bentonville) © Estate of R. Buckminster Fuller

At the new Park Seo-Bo Museum in Seoul, works by Huong Dodinh and Park Seo-Bo are placed in conversation in "Park Seo-Bo & Huong Dodinh: Emptiness Fullness," encouraging new perspectives and associations. In this film produced by ArtDrunk, Dodinh explains, "These are works of silence, of peace." Her contemplative paintings evoke memories of her experiences in both Vietnam, where she was born, and France, where she has lived and worked throughout her career. Experience the works in "Park Seo-Bo & Huong Dodinh: Emptiness Fullness," on view through January 3, 2027.

In this film, artists Torkwase Dyson and Richard Tuttle discuss Dyson's new body of paintings on view in "Seeing in Blue" at Pace in New York, touching on both formal and metaphysical questions related to time, memory, and change. At the heart of Dyson's abstractions is her continual search for the expansiveness of freedom, as well as the possibilities of world-building. "I'm a realist," she explains, "as long as it helps me catapult into something that imagines different worlds." "Seeing in Blue" is open through October 24, 20206, at 540 West 25th Street.

Episode [305]: Silicone casts of body parts fuse to stainless steel canvases, bodily orifices penetrate digital landscapes, and abstracted images of flesh and machine blur in the uncannily visceral works of artist Tishan Hsu.

Tishan Hsu was born in 1951 in Boston, Massachusetts, and lives and works in New York, New York. Learn more about the artist at https://art21.org/tishanhsu.

Art Basel has officially landed in Paris🇫🇷

Today we welcome our first visitors inside the Grand Palais for previews.

Our Emergence sector gathers exhibitors presenting young and emerging artists through solo presentations.

Explore it on the balconies of the Grand Palais through this weekend, October 25.

Episode 304: Trekking through the hills and valleys of High Desert Test Sites in Joshua Tree, California, artist An-My Lê photographs a subject that is new in a career spent documenting militarized landscapes: the night sky.

Discover the exhibitions "Zurbarán 1598–1664" and "Sculpting Color: Masterpieces from the National Museum of Sculpture, Valladolid"

with curators Charlotte Chastel-Rousseau and Valérie Carpentier Vanhaverbeke.

Immerse yourself in the work of one of the most significant Spanish painters of the 17th century—a prodigious colorist celebrated for a highly distinctive style that blends simplified forms with striking naturalism. Through a scenography designed to create a dialogue between the works, explore 17th-century Spanish sculpture, featuring masterpieces from the National Museum of Sculpture in Valladolid.

Dan Flavin's "European Couples" series (1966–71) is now on view for the first time in its entirety in France. The exhibition at Gagosian, Le Bourget, unites all nine fluorescent corner light works from the series, alongside six additional works from 1963 and 1964, "untitled (for Charlotte and Jim Brooks) 1" to "6". In this video, scholar Tiffany Bell speaks about the works on view.

Edouard Duval-Carrie creates seductive and fantastical art works inspired by Vodou spirits and the Haitian diaspora.

Using every artistic medium in existence, Duval-Carrie intertwines his local community of Miami’s Little Haiti with a broader tapestry and narrative of the “200 nations” that make up Haiti’s historical populations and breathtakingly rich artistic heritage.

Hank Willis Thomas, Looking for America, 2018, bronze and steel, 154.9 x 248.6 x 170.5 cm (Crystal Bridges Museum of American Art, Bentonville) © Hank Willis Thomas

Kent Monkman, Saving the Newcomers, 2023, acrylic on canvas, 214 x 319.1 x 3.4 cm (Crystal Bridges Museum of American Art, Bentonville) © Kent Monkman

Nicholas Galanin, I think it goes like this (memory and interference), 2024, bronze, 30.5 x 121.9 x 121.9 cm (Crystal Bridges Museum of American Art, Bentonville) © Nicholas Galanin

You can see Eye of the Needle by Conrad Shawcross at Frieze Sculpture in London's Regent Park until 1 November 2026.

In this film, artists Arlene Shechet and Jessi Reaves explore Shechet’s exhibition “She Said She Said,” on view at Pace in New York. In “She Said She Said,” Shechet brings her inventive spirit and relentless process of discovery to aluminum, Cor-Ten steel, and clay—materials that feel familiar but become wholly renewed through her touch. With what she refers to as “drawing through sculpture,” the artist expands her inquiries into ideas of lightness, precarity, color, and construction, which she discusses, among other topics, with Reaves. “She Said She Said” is open through October 24, 2026 at 508 and 510 West 25th Street.

Anne Neely finds solace through contemporary painting, exploring the stories of her Maine fishing community and the natural world.

Through recorded conversations with her local Maine fishing community, Neely uncovers stories of a town struggling to survive. At the same time, she faces her own struggle with cancer, finding protection and solace through art.

🇫🇷 Find these Tracey Emin sculptures at Parvis des droits de l'Homme - Cité de l'architecture et du patrimoine, through November 1. This installation is free and open to the public, and is presented by White Cube.

Discover the twisted, metallic forms of Kennedy Yanko, now on view at the Cité de l’architecture et du patrimoine, as part of the Art Basel Paris Public Program!

Made from scrap metal and “skins” of paint, Yanko's sculptures echo the works on view in the Cité’s gallery of casts, revealing the undersides of architectural structures that are usually hidden from view.

Growing up with albinism, Nigerian artist Dapo Richard Oni never saw a comic book character who looked like him. Now he is turning his childhood experiences into a story of resilience, hoping to inspire a new generation of readers.

Edouard Duval-Carrié crafts seductive, fantastical works that bridge the gap between Miami’s Little Haiti and the complex history of the Caribbean.

His art serves as a vibrant tapestry, weaving together the influence of Vodou spirits and the diaspora to honor 200 nations of Haitian heritage. This film offers an intimate look at how he uses every medium available to represent his community’s deep cultural heritage.

Gagosian is participating in Art Basel Paris at the Grand Palais this week with a presentation of exceptional paintings, sculpture, and photographs that define many of the key artistic movements of the twentieth and twenty-first centuries. The booth centers around "Corks (Couple)" (2011–18), a rarely seen polychrome bronze sculpture by Jeff Koons. In this video, Rebecca Sternthal discusses the work, which stands over three meters (10 feet) tall and depicts a cluster of oversize corks with illusionistically detailed textures, wine stains, and imprints of origin and vintage.

Lecture titled "Portraying a Queen: Urraca, *Regina Hispaniae* (r. 1109–1126)," delivered by Thérese Martin for the conference "An Unfinished Agenda: Art History and Women."

Completing the narrative of art history, exploring research focused on a gender perspective, facilitating the transfer of this knowledge to society, contributing to the training of educators, and considering how to integrate this content into both formal and non-formal educational settings—these are some of the objectives we aim to achieve with the second edition of this course.