In a not-so-subtle act of defiance against the contentious Christopher Columbus, someone in Detroit celebrated Columbus Day this year by taping an ax to a bust commemorating the explorer, splashing on some red paint for full dramatic effect, the Detroit Free Press reported. The hatchet was removed shortly after the discovery of the defacement, and city officials cleaned the fake blood this morning, according to HistoricDetroit.org. Cristoforo is now squeaky clean, after receiving a 10-minute scrub courtesy of a power washer, and he continues to preside over a busy intersection in downtown Detroit, near city hall. The culprit has not yet been caught.
The bust, made of bronze with a Travertine marble base, is the work of Italian sculptor Augusto Rivalta and was dedicated exactly 105 years ago on Columbus Day, in honor of the city’s Italian population. It also features a plaque that describes Columbus as a “great son of Italy” who “discovered America.”
This hasn’t been a great year for the 15th-century colonizer. In July, he somehow got caught up in another public art protest far beyond his time, when vandals in Boston tagged another statue of Columbus with red paint. There they left a more anachronistic message: “Black Lives Matter.”
Artist Dan Jian makes the point that landscapes and memory are one and the same.
Murch’s painted dust can be so tangible you feel compelled to wipe off the picture.
For the triennial’s eighth edition, work by more than 70 artists is featured in 12 exhibitions and a polyphonic program, installed at various locations throughout the German city.
“As we grieve her loss, we call for full accountability for the perpetrators of this crime and everyone involved in authorizing it,” they wrote in an open letter.
The planned center will be named after Fred Rouse, a Black man who was lynched in the city of Fort Worth in 1921.
This exhibition explores the work and short-but-impactful life of the groundbreaking ceramic artist. Now on view at the New Orleans Museum of Art.
The researchers found that when eyes meet, certain areas of the brain start experiencing “neural firing.”
From 1968 to 1973, the Nihon Documentarist Union did radical documentary work in Japan. They made two films in Okinawa before, during, and after its reversion.
Curated by Clare Dolan, this solo exhibition in Frenchtown, NJ contains new and unearthed paintings, sculptures, and prints selected from the organization’s 60-year history.
Every corner and crevice of Columbia University’s MFA Thesis show feels lived in, reflecting not just artists’ experience quarantining with their work, but also that of re-entering society.
Sprawling across the Joshua Tree region, nine site-specific works consider the ways in which people have relocated to the desert, destroying what came before them, and cultivating new life.
The rendition could be a platform for essential conversations on sociohistorical and economic land rights issues.