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I was touched by a post written by art critic Mary Louise Schumacher, who blogged about the disappearance of a beloved frieze on the facade of the Milwaukee Journal Sentinel newspaper building, where she works.
The 1920s sculpture told the grand narrative of news and its dissemination. Created by artist Arthur Weary, who Schumacher was unable to find much information about, it was carved out of Kasota stone from Minnesota, and will no longer welcome the newspaper’s employees — who probably deserve a reminder now and again about the importance of what they do.
I had to turn to our archives to learn more about it, where I found artist renderings and newspaper clippings. As it turns out, the artist didn’t share his tale with journalistic brevity. He tried to tell it all. Starting with the dawn of man and the “stone carvings of prehistoric beasts” and ending up at the then-modern newspaper, the narrative also featured the “vain rumors” of “primitive peoples,” the smoke signals of the ancient Hebrews, carrier pigeons, town criers, chatty sailors and the pony express, among other things. Gutenberg was the climax of the story, rather than its origins, as you might expect.
It made me think of all the other artistic monuments, murals and objects that disappear everyday and never receive a single blog, tweet or mention at all.
Archeologists can now prove the Vikings made landfall in the Americas hundreds of years before Columbus reached the Bahamas.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.
“I am trying to keep the immediacy of my emotional experience while I’m painting.”
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.