Today’s press conference by Miami artist Maximo Caminero, the man who destroyed part of Ai Weiwei’s “Colored Vases” (2006–12) at the Perez Art Museum Miami, never happened. However, BBC has uncovered unverified video of the incident, which is available on their website and we’ve summarized as a GIF.
There is no public information available as to the identity of the person who captured the video of the incident.
In June 2012, an artist vandalized a Picasso at Houston’s Menil Collection, and the incident was recorded and posted on YouTube. Many people continue to suspect that the person who recorded the Houston event — and has since removed the video and closed the related account — was connected to the vandal.
To understand contemporary art, it is necessary to investigate the connections that are sometimes omitted or undervalued in art history.
Gearhart founded a print gallery with her sisters and was at the center of the Arts and Crafts movement in southern California.
Curator, educator, and transdisciplinary artist Jova Lynne is coming from MOCAD to lead Temple Contemporary exhibitions and public programs.
Video art was something you watched “with the lights on,” as França insisted, without pretenses of high art.
PHASE 2 would emerge as an innovator in New York’s burgeoning subway art movement, creating elaborate murals that would shape the evolution of both the spray can and the art form.
Featuring underwater recordings from around the world, this immersive, site-specific installation is on view at the Lenfest Center for the Arts in NYC from February 3 to 13.
While the South Asian diaspora is one of the largest and most widely dispersed in the world, the Indo-Caribbean community is often overlooked and excluded from discussions of South Asian art.
The Bay Area artist believed in shaping artists rather than relaying rules.
BRIC’s multidisciplinary program in Brooklyn has cohorts in Contemporary Art, Film & TV, Performing Arts, and Video Art. Applications are due March 10.
Open-ended, community based, and collaborative, “esolangs” serve as a reminder that digital art has other histories and other futures.
Working with what they had, Cass Corridor artists scrapped and repurposed anything they could get their hands on, attempting to find some salvation for their city through a literal process of salvage and reuse.
Throughout the 1970s and into the ’80s, artists in Los Angeles created organizations and exhibition spaces to develop the resources they lacked.