If you enjoy obvious jokes about the way people interact with ubiquitous technological features, you’ll love sugarselfie.us, a new website that fights bad taste with worse: a “selfie generator” that places you, thanks to some low-fi techno-maneuvering, right there at the Kara Walker Domino Sugar Factory installation, alongside the boors amid the Blackamoors. “ITS [sic] LIKE YOU ARE REALLY THERE!!!!”
The dream of Warhol at its zenith — a neoliberal quagmire wherein appearance is always more important than agency. It’s a barely clever rejoinder to a banal phenomenon long since taken to its logical conclusion, but hey, give the people what they
In an open letter, European institutional leaders defend Manuel Borja-Villel, who has faced right-wing attacks for his progressive programming.
A new study posits that rising smog levels in 19th-century London and Paris likely played a role in blurring the lines of realism.
In Seongmin Ahn’s paintings, it is not our past we are looking at but our possible future.
Born in Shiraz, Sokhanvari fled Iran as a child a year before the Revolution and has devoted her artistic practice to the country she left behind.
Join the New-York Historical Society on February 10 for a virtual conversation about our changing relationship to the natural world with Julie Decker, John Grade, and LaMont Hamilton.
Stephen L. Starkman’s moving book about his encounter with mortality leaves a place for perseverance and hope.
“We clearly f-ed this one up,” said a Metropolitan Transit Authority rep, adding that the error in the artist’s last name is being fixed.
At least we won’t have to look at it on Earth.
From residencies, fellowships, and workshops to grants, open calls, and commissions, our monthly list of opportunities for artists, writers, and art workers.
Presented by Northwestern’s Block Museum and McCormick School of Engineering, this new exhibition seeks empathy at the boundaries of life. On view in Evanston, Illinois.
The statue could be a likeness of Trajan Decius, emperor of the Roman Empire from 249 to 251 CE.
The action could disrupt public access to the museum as workers campaign for higher wages and better labor conditions.