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During a meeting today with senior editors of international news agencies in St. Petersburg, Russian President Vladimir Putin responded to questions about what US intelligence claims was a Kremlin-directed hacking-and-propaganda campaign to influence last year’s election. His answer was art-related.
“Hackers are free people, just like artists who wake up in the morning in a good mood and start painting,” Putin said.
The Russian leader knows how to play this. In contrast to Western leaders, who often talk about hackers as obese men in their parents’ basements — precisely what Trump said during the first presidential debate in 2016 — he’s cozying up to a demographic that’s close to the front lines of the new global information war, which has been emerging over the last few decades.
But of course, Putin’s perception of what an artist does is so romanticized (and false, much like the stereotype of hackers). Artists don’t just wake up in a good mood and start painting (or sculpting, etc). Professional artists go to work every day and don’t wait for the muses to inspire them. I’m going to assume that hackers — of whom I’ve only known a few (at least the ones who’ve admitted it to me) — do the same.
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.