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As you may have seen on the internet today, an American exchange student “just wanted to take a funny picture” and ended up stuck inside artist Fernando de la Jara’s “Chacán-Pi” (Making Love) sculpture, located on the grounds of the Institute of Microbiology at Tübingen University in Germany. It took 22 firefighters to free him. You may further recall that the man who broke a statue in his quest for the perfect selfie was also a “foreign student.” Where does it end?
Here, by way of counterpoint, are people freely entering (and presumably exiting) another, much better (IMO) oversized vagina statue: “hon-en katedral” (she-a cathedral), by artists Niki de Saint Phalle, Jean Tinguely, and Per Olof Ultvedt, installed at the Moderna Museet in Stockholm in 1966:
“The impossibility of reforming Tony [Soprano] bears some resemblance to the crisis plaguing museums and toxic philanthropy today, where a culture of bullying and exploitation belies programming of socially- and politically-engaged art.”
As a critic, I’m dying to make a meta-critique of the ways my communities are represented on screen.
Over 50 years of the artist’s video and media work on how images, sound, and cultural iconography inform representation is on view through December 30.
Frey ponders why she felt comfort in television and film content that intellectuals often take pride in dismissing.
What does Rutherford Falls, a new TV series that prominently features two small town museums, tell us about the way people see the contentious stories on display in history and art institutions?
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.