Ann Goldstein

Ann Goldstein, the former director of Amsterdam's Stedelijk Museum, will take over the position previously held by James Rondeau, who is now the museum's president.

"White Crucifixion," Mark Chagall. 1938. (Sharon Mollerus / Flickr)

The famous painting had been on loan to Florence's Palazzo Strozzi since September. In November, the painting moved briefly to the Vatican for a visit with Pope Francis, who had declared it to be one of his favorites. 

(Courtesy of the Art Institute of Chicago)

We take a peek inside the mind – and bedroom – of Vincent Van Gogh in the latest exhibit at the Art Institute of Chicago. 

No need to chop off your ear – the Art Institute is adding extra dates to its Vincent Van Gogh-themed Airbnb listing, a rented room constructed in the style of Van Gogh's 1889 painting "The Bedroom."

The museum also created a real-life replica of Van Gogh's bedroom on Airbnb

Starting Sunday, the Art Institute of Chicago will exhibit all three of Van Gogh's "bedroom paintings," the famous series the Dutch artist painted of his own bedroom while living in the provincial town of Arles, France.

The Art Institute's Head Curator of Contemporary Art James Rondeau will officially take over as president of the institution, the museum announced Thursday. The 46-year-old succeeds Douglas Druick, the museum's president since 2011 who announced his retirement in October.

The largest monetary donation in the history of the Art Institute of Chicago comes courtesy of Dorothy Braude Edinburg, a longtime patron of the museum who died last January at the age of 94.

Wednesday marks Museum Selfie Day – the perfect marriage of learning and self-indulgence created by blogger and "Culture Snatcher" Mar Dixon as a way to get the masses packed into those cultural fonts of wisdom: museums. We take a look at 15 of the best selfies from local museums.

Andy Warhol. Mona Lisa Four Times, 1978. (The Art Institute of Chicago, Gift of Edlis/Neeson Collection. © 2015)

A revealing look at the massive new collection of contemporary art at the Art Institute, where the Modern Wing galleries have been transformed.

Jasper Johns. Target, 1961.

James Rondeau, the Art Institute's head curator of contemporary art, highlights pieces donated to the museum by Chicago art collectors Stefan Edlis and Gael Neeson –  an estimated $400 million gift of iconic contemporary artwork. 

This weekend, the Art Institute of Chicago unveils a massive gift of 44 iconic contemporary works in its Modern Wing. Here’s how the museum landed those pieces. 

In honor of its 150th anniversary, the School of the Art Institute has teamed up with the Art Institute of Chicago for a new exhibition called “Homegrown." The show highlights the many influential American artists who received instruction at the school and later became part of the permanent collection of what has been called “the world’s best museum.”

An architect with a global portfolio but a laser-like focus on context. Works deeply embedded in culture but devoted to breaking stereotypes. And a talented eye with more of an approach than a style. "Chicago Tonight" takes a look inside David Adjaye's new solo architecture exhibition at the Art Institute’s modern wing.

'Whistler and Roussel' at the Art Institute of Chicago
The American-born artist James McNeil Whistler had a profound impact on his 19th century European contemporaries. An exhibition at the Art Institute of Chicago looks at Whistler's artistic vision – and his influence on a little-known French artist held in high regard by curators and collectors.
Edgar Degas. Scene from the Steeplechase: The Fallen Jockey, 1866, reworked 1880–1881 and c. 1897. National Gallery of Art, Washington, D.C., Collection of Mr. and Mrs. Paul Mellon, 1999.79.10.

The Art Institute of Chicago offers a fresh perspective on French Impressionist painter Edgar Degas in Degas: At the Track, On the Stage, an exhibition focusing on works that feature movement or performance.

Art Institute Links Work of American Artist James McNeil Whistler and His European Contemporaries

James McNeil Whistler and Theodore Roussel had linked artistic visions. Their decade of professional collaboration gets a fresh perspective in this look at the creative output of the American mentor and his European student.