Robert C. Morgan visits Paul Chaleff's Pine Plains studio and finds a sculptor working the fault line where two dimensions become three — where a vessel becomes a sculpture, where function dissolves into form. A meditation on clay as a tactile counterweight to the digital fatigue of our age.

Paul Chaleff occupies a position in contemporary American art that resists easy classification. Working in ceramics, yet rarely confined by the expectations of the medium, his work moves between object and sculpture, between function and form — propositions rather than tools — and into a philosophical territory rooted in existential inquiry.

There is a room in the Hispanic Society of America, a museum so quietly extraordinary that even most New Yorkers have never set foot in it — where the walls tell a different story of Spain. Fourteen monumental canvases, each between twelve and fourteen feet tall, wrapping around you for nearly two hundred and thirty feet of painted Spain.

Colonel James A. Gray, the founder of the World Monuments Fund. She described him as a man who solved problems with quiet boldness—the kind who didn't just raise money but took action. In 1965, he founded what became WMF after pursuing ideas that seemed audacious at the time, like stabilizing the Leaning Tower of Pisa. In 1968, he arranged to bring an Easter Island moai to New York's Seagram Building to remind the world what was at stake—heritage, memory, humanity itself.

This is my tribute to Humberto Calzada: Cuban, American, painter, friend, brother in all the ways that matter. A man who understood that sometimes the only way to go home is to create it, brush stroke by brush stroke, until the canvas holds everything you remember about love.

“The Art of Joy Brown” Selected for Competition at 2025 Mystic Film Festival.

When we think of Louis Comfort Tiffany, our minds inevitably turn to those iconic stained glass lamps with their iridescent dragonfly wings and poppy blossoms, or perhaps the jewel-toned windows that grace countless churches and private residences. Yet this singular focus on his most commercially successful works has obscured a far more complex and ambitious artistic legacy—one that reveals Tiffany as a pioneering collaborator in America’s emerging vocabulary of interior arch

The Piccirilli Factor at The Met

We always knew it was a story that needed to be told, and Eduardo has done it so masterfully.

An important sequence in The Piccirilli Project explores the collaboration between the Piccirilli and George Grey Barnard.

Edward was a disciple of Richard Crozier, another artist I deeply admire. Edward and Dave were very close friends, and when you visit Dave,

After nearly a year of working together, Joseph D'Oronzio and I finally sat down, quietly, with a camera between us to record his memories o

Dave Mathews, a longtime admirer of Brown’s work, recorded an insightful and heartfelt conversation with Montes-Bradley.

The murals designed by Attilio for the Rockefeller Center represent a continuation of the modernist style he cultivated.

Charlottesville, Virginia -- We are pleased to announce a new collaboration in China to document the final stages of Joy Brown's work.

The Piccirilli Brothers' most remarkable contribution to New York is probably the 350 stone and 150 wood carvings they created for Riverside

NOTES FOR A DOCUMENTARY FILM | The Mott Heaven, once home to the Piccirilli Marble Carving Studio, is a part of the South Bronx that...

During last week's short visit to the MET I had the opportunity to recapture Fragilina, one of several idealized female nudes by Piccirilli.

A visual tour through the Marble Cave of Fantiscritti in Carrara. From The Italian Factor by Eduardo Montes-Bradley