How can artists responsibly use images that are not their own, especially when those images are tied to the history of another culture? And how can museums display such work while respectfully engaging with marginalised communities?
Category Archives: 02.06.18
These aren’t the “jewel box” CD cases, mind you – they’re the long, mostly empty plastic containers that jewel boxes were stuffed inside for record store shelves, and they were supposed to be removed at the cash register. “From a distance, it seems like putting a CD or a cassette inside a massive [plastic] box, […]
Sonia Boyce: “The recent, temporary removal from Manchester Art Gallery of John William Waterhouse’s 1896 painting Hylas and the Nymphs, which depicts Hercules’s handsome male lover being lured to his death in a pond by seven long-haired, topless nymphs (pubescent girls), was an attempt to involve a much wider group of people than usual in […]
“Ben Enwonwu’s 1974 painting of the Ife princess Adetutu Ademiluyi, known as Tutu, is a national icon in Nigeria, with poster reproductions hanging on walls in homes all over the country. The artist, regarded as the founding father of Nigerian modernism, painted three versions of Tutu and the image became a symbol of national reconciliation. […]
Steven Kurutz, a reporter for The New York Times who now has the entire New York Public Library to look through: “I loved being in a room filled with books. Two rooms, actually. There was a small-town stillness, an atmosphere of benign neglect inside our little library that suggested the great works of Western lit […]
Roxane Gay: “We can no longer worship at the altar of creative genius while ignoring the price all too often paid for that genius. In truth, we should have learned this lesson long ago, but we have a cultural fascination with creative and powerful men who are also “mercurial” or “volatile,” with men who behave […]
Evelyn Lamb explains the issues of mass, inertia, vertical velocity, and angular momentum – and she talks to an applied physiology professor who figured out how tiny changes in arm position could make the difference between triple jumps and quads.
“In an 18-page court filing, Robert Cenedella alleges that a ‘corporate museum cartel’ engaged in an ‘unlawful conspiracy’ to manipulate the market for contemporary art. The lawsuit … says the Metropolitan Museum of Art, the Whitney Museum, the Guggenheim Museum, the New Museum, and Museum of Modern Art all excluded Cenedella and ‘innumerable other deserving […]
“In their paper, titled Democratizing Art Markets: Fractional Ownership and the Securitization of Art, the authors, using historical sales data from the Leo Castelli gallery, have modelled a sample portfolio to determine what would have happened had Jasper Johns and Robert Rauschenberg retained 10% equity in their own works sold by Castelli between 1958 and […]
“As a director, Ms. Jones won a Peabody Award for the four-hour documentary 180 Days: A Year Inside an American High School. … In 2005 Ms. Jones was appointed executive director of the National Black Programming Consortium, now called Black Public Media. Her work there included moving beyond the organization’s role supporting black filmmakers. During […]