Medardo Rosso, Cheval qui monte la route (Horse going up the street), n.d. Pencil on paper, mounted on cardboard, 7 7/8 x 4 ½ in (20 x 11.5 cm). Museo Medardo Rosso, Barzio. Image courtesy of the Center for Modern Italian Art.

At 25 years old, Medardo Rosso (1858–1928) was expelled from the Brera Academy of Fine Arts in Milan, where he studied sculpture, for punching another student in a heated argument

Balmori Associates’ Meditation Room: Horizon, 2015.

  For IDEAS CITY 2015, The Drawing Center presents Balmori Associates’ Meditation Room: Horizon a constructed continuous wall of paper where the overlapping of two dot matrix systems comes together to create a

Jesús Tenreiro-Degwitz. Venezuelan Corporation of Guayana (Corporación Venezolana de Guayana) (CVG). 1966. Blueprint. Image courtesy of Museum of Modern Art.

  The Museum of Modern Art exhibition Latin America in Construction: Architecture 1955-1980 runs through July 19, 2015. Curated by Barry Bergdoll and Patricio del Real, this exhibition focuses on

Felice Koenig, detail of Double Embrace, 2015. Acrylic on polystyrene, 24 x 24 x 4 inches (61 x 61 x 10 cm), from the Sculpted Form Series. Courtesy of the artist.

Felice Koenig shapes her paintings by applying layer upon layer of color—each layer an accumulation of resonant fields of dots. What is not immediately apparent in this intensely material practice

Diana Puglisi, Moth-eaten, 2014. Fabric dye and house paint on interfacing, 16 x 13 inches. Courtesy of the artist.

  Viewpoint is a series in which The Bottom Line asks a practicing artist to respond to five questions.   Diana Jean Puglisi is currently an MFA candidate at Massachusetts

Installation view of Egon Schiele: Portraits, Neue Galerie, New York, NY (October 9, 2014 - April 20, 2015).

“The painter can also look. To see however is something more.” —Egon Schiele   Does Egon Schiele ever go out of style? Certainly his fretful line and his provocateur’s attitude

Annette Cords, Jacquard Tapestry, 2012

i.   A handmade white sign contrasts with a brown doorframe. It is a building number from an avenue, but it is placed directly on the street: 1950. This is

Sari Dienes, Tred Squares, c. 1953–55, Ink on webril, 36 x 36 inches. Courtesy of The Sari Dienes Foundation, Pomona, NY. © Sari Dienes Foundation/ Licensed by VAGA, New York, NY.

Although Sari Dienes was a central figure of the 1950s New York art world, her contributions to the arts have been overlooked for decades, relegated to the status of a

Giovanni Domenico Tiepolo Late 18th–early 19th century Pen and brown ink, brown wash, over black chalk 13 3/4 x 18 5/16 in. (35 x 46.5 cm) The Metropolitan Museum of Art, Robert Lehman Collection

Giovanni Battista Tiepolo (1696-1770) is best known as the most inventive and original fresco painter of the eighteenth century; his son, Giovanni Domenico Tiepolo (1727-1804), followed in the father’s footsteps.

Jasper Johns (American, born 1930). Untitled. 2013. Ink on plastic. 27 ½ x 36” 69.9 x 91.4 cm). The Museum of Modern Art, New York. Promised gift from a private collection. Art © Jasper Johns/Licensed by VAGA, New York, NY. Photograph: Jerry Thompson.

Jasper Johns: Regrets at The Museum of Modern Art     Experimenting with art materials is a process normally encouraged in early childhood — getting messy with clay, smeared with