Tons of white LEGOs that will be used by High Line visitors to build the imaginary cityscape of Olafur Eliasson’s “The Collectivity Project” = 2
Pairs of laced shoes Vincent van Gogh painted over a flower still life, on view at Harvard Art Museums = 3
Odds given by London bookies that Edvard Munch’s “The Scream” would be stolen before it went to auction at Sotheby’s in 2012 = 20:1
Drops of water falling per second in DGT architects’ “Light in Water,” installed in the oldest concrete dome in Paris = 60
Age of Manoel de Oliveira, the oldest active filmmaker who passed away this week at his home in Portugal = 106
Statues of the Buddhist deity of mercy in Kyoto, Japan, nearing the completion of a restoration project started in the 1930s = 1,000 (and each considered a thousand-armed being)
Burials in a lost medieval cemetery revealed beneath Cambridge University, some of which did not fit in their graves as they were likely pre-dug = 1,300
Landscape architects living in California, the most of any state = 3,014 (compared to North Dakota with just 12)
People who saw a Ming Dynasty painting and calligraphy show at the National Palace Museum in Taipei in 2014, making it the most popular exhibition of the year = 1,131,788
The committee’s main responsibilities will be to shape policy goals, stimulate arts philanthropy, and advocate for the expansion of federal backing of the cultural sector.
Some museumgoers pointed out that the museum’s label omitted discussions of HIV/AIDS, which are at the heart of the work.
Featuring over 70 installations and performances at the George Washington University’s historic Flagg Building, the Corcoran’s end-of-year showcase is now available for virtual viewing.
But a museum in Harvard is still named after a member of the disgraced family, notorious for its role in the opioid crisis.
Parker’s stories bring so many of her works alive, give them meaning, and make us warm to her and to them. Is that a problem?
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
The works, and worlds, on display in Hancock’s exhibition seem saturated with a desire for narrative redemption through self-observation and aspects of his Christian upbringing.
The problem with Andrew Dominik’s biopic Blonde is its assumption that Monroe’s victimization was the most fascinating thing about her.
When I recently came across Sandra Cattaneo Adorno’s photo book Águas de Ouro, I could hear the waves and boomboxes, and even taste the salt on my lips.
Works by over 70 artists of the pan-South Asian diaspora were up for auction to help Pakistan’s most vulnerable communities in a women- and queer-led initiative.
The board of 70 Washington Street in Brooklyn, which previously housed an artist residency, is weighing the replacement of Helen Brough’s “Emulated Flora” with generic photographs of Brooklyn landmarks.