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Some good news for Manhattan’s Seaport Museum, which has been in financial trouble for quite some time, as they received a $2 million grant from the Lower Manhattan Development Corp. The sum is the largest given to any one downtown Manhattan nonprofit and collectively institutions in the area received $17 million in post-9/11 recovery grants. Other notable visual arts programming that received grants went to the River to River Festival ($700,000), the public art exhibits at City Hall Park ($250,000) and smaller amounts to ABC No Rio’s new arts center on Rivington Street and the Children’s Museum of the Arts’ new teen arts center in SoHo. [via DNAinfo]
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.