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” … a society can’t be a more just society, a more fair society, without it being a more empathetic society, and the arts help build empathy. And understanding and engagement with the arts builds in us an ability, a capacity, for introspection, for putting ourselves in the shoes of other people, an ability to imagine what it must be like to be different than who we are, whether we are a white man or a black man or a white woman … ”
This past summer, I met Ford Foundation President Darren Walker in Times Square, where the major philanthropic organization has temporarily relocated its offices while they renovate their iconic building on East 43rd Street in Manhattan.
Our conversation took place soon after the organization announced plans to open an office in Detroit, a city it had left in 1953. We spoke about the public’s interest in scrutinizing institutional authority, Walker’s own love of art, and the renovations at the Foundation’s building, and also discussed Agnes Gund’s new Art for Justice fund, the role of the arts for marginalized communities, and the importance of public education.
Walker is clearly a lover of the arts and the conversation conveys some of his passion easily (you may be surprised to hear about the artists that inspired him most).
This season we are also partnering with Warp Records, who will provide music for each episode. The music featured on this episode was Mark Pritchard’s “Give it Your Choir.” You can hear more from his latest release “Under the Sun” at markprtchrd.com and find more great music from Warp Records at warp.net.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
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.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.