NYT > Arts
On Inauguration Day, news broadcasters seemed unnerved by the prospect President Donald J. Trump would remain as combative as he had been while the host of “The Apprentice.”
Mr. Shaw, from St. Louis, became a vital part of New York’s jazz vanguard, leading the Human Arts Ensemble and playing with Cecil Taylor and Anthony Braxton.
Cultural counterprogramming. An artists’ strike. A museum’s celebration. Dispatches from coast to coast.
The artist Pat Lasch thought that her 1979 cake sculpture was part of the museum’s collection. The museum says otherwise.
Understudies step in to give robust performances in lead roles in Bizet’s opera at the Metropolitan Opera.
They didn’t set out to be controversial, but their show sure became so. And the story seems newly relevant.
A Lifetime do-over of that 1988 tear-jerker movie features Idina Menzel and Nia Long. (And you-know-who still dies.)
Ms. Dell worked as a stunt double in films like “Thoroughly Modern Millie” and “The Poseidon Adventure” and in the TV series “Charlie’s Angels.”
Our pop critics on the week's most important new songs, from Diamanda Galás's "O Death”" to J Cole's "High for Hours."
When Ms. Rosenbloom’s elbow was injured in a crash, she was told she would never play again. But practice became central to her recovery and growth.
He brought soul and hip-hop into the White House like no president before him. A discussion of Mr. Obama’s most powerful musical moments, on this week’s Popcast.
Once one-half of Calle 13, this rapper is using his own individual chemistry to affirm global kinship.
It’s a big city, with plenty to do, see, hear and watch. Here’s a sampling of cultural highlights this weekend and over the week ahead.
In the last decade, only one film that had its premiere at the Sundance Film Festival has earned more than $40 million at the box office.
Feminists are protesting the announcement that Roman Polanski would preside over the Césars; one official called the move “shocking and surprising.”
Roberta Smith picks her standouts from this year’s Outsider Art Fair, sticking with old favorites, but also including new discoveries.
“Split” represents something of a return to form — or formula — for its writer and director, M. Night Shyamalan. It’s all plot, spun into a ribbon of suspense.
This choreographer, whose first piece for New York City Ballet has its premiere on Jan. 26, makes short films as well.
The Latvian virtuoso continues to focus on honing his chamber orchestra, unearthing neglected composers and seeking personal inspiration.
A new Comedy Central show is partly shot on location; has two Detroit natives as its leads; and employs a cast widely drawn from the area.
A fanciful bedtime story that he told his daughters will finally be finished and released, more than a century after he wrote it.
Once done for ideological reasons, the destruction of heritage sites is now thought to be a matter of revenge as the militant group loses territory.
Donald J. Trump is sworn in as the 45th president, giving Bill Maher plenty to expound on as “Real Time” begins its 15th season.
An inaugural songfest fell far short of its billing as “typically and traditionally American.”
With soaring language and an improvisatory jazz spirit, Ruben Santiago-Hudson’s revival brings lives shaped by privation to throbbing life.
This solo show, written by Matthew Spangler and Benjamin Evett and starring Mr. Evett, is based on the poem by Samuel Taylor Coleridge.
In Alain Guiraudie’s quirky hybrid of thriller, sex comedy and folk tale, a screenwriter meets a shepherdess and, voilà, a baby is born.
The site offers the theatrical equivalent of a limited run: A new movie is introduced every day, but after 30 days, it’s gone.
This largely nonverbal animated French-Belgian-Japanese coproduction, from Studio Ghibli, the home of Hayao Miyazaki, flirts with eco-mysticism.
Cosmo Feilding Mellen’s documentary suggests that two young men saw themselves as spreading transcendence one hit at a time.
Michael Fassbender and Brendan Gleeson star in Adam Smith’s first feature, which has a mutinous energy and an absurd, knockabout charm.
The New York Times film critics review “The Red Turtle,” “Strike a Pose” and “Split."
In the third installment of this franchise, the hero and new oddball allies set out to retrieve a stolen superweapon.
Models of five artworks, two of which are destined for London’s Fourth Plinth, a sculpture platform on Trafalgar Square, are now at the National Gallery.
This debut feature by the Mexican writer and director Emiliano Rocha Minter seems to build on the character of Coffin Joe in the 1960s films by José Mojica Marins.
This documentary contains excerpts from a film made with the help of juveniles facing trial as adults, who are confronting the possibility of life in prison.
This documentary, by Mehrdad Oskouei, depicts a female juvenile detention center in Tehran that offers a benign contrast to its residents’ outside lives.
This documentary honors the street-based work of the British artist known as Banksy, and implicitly criticizes those who would try to turn profits from it.
One of the hallmarks of this film, by Sean Brosnan, is the disjunction of the gorgeous and the gag-inducing as father and son try to kill each other.