LOS ANGELES — The image above has been making the rounds on social media this week. What you’re looking at is a wall in Cairo painted to look like it’s not a wall, like it goes through and enters into Tahrir Square. According to the New York Times, in December, the Egyptian military erected a number of walls to divide the streets that connect to government power centers. A recent report in France24 says more walls have been put up since then.
Egyptian graffiti [sic] artists arranged a No Walls protests last Friday (March 9, 2012), where they painted the walls away into stunning murals to commemorate the dead and protest the obstacles built by painting eye-deceiving, virtual continuations to the blocked streets (Trompe-l’œil). Almost every wall around the area was painted on by young artists who joined hands and brushes for over three days, turning the area into a lasting memorial.
Other walls were painted with silhouettes of children and families playing under a rainbow, and another includes large-scale portraits. All of these repurpose the wall and humanize the struggle. But perhaps the trompe l’oeil mural is the most powerful, in helping passers-by remember the days when the wall didn’t exist at all.
The small New York art fair celebrated its 26th edition with the works of 11 women artists.
The artist couple shared creativity and mutual devotion reflecting a period of light and joy that came after considerable darkness in their early lives.
Conversations with Leslie Barlow, Mary Griep, Alexa Horochowski, Joe Sinness, Melvin R. Smith, and Tetsuya Yamada will be accessible online or in person at the Minneapolis College of Art and Design.
The plot of Maureen Fazendeiro and Miguel Gomes’s film moves backward in time, continually recontextualizing what at first looks like a simple situation.
It’s art fair season and we’re here to comfort and entertain you during this difficult time of the year with a new, biting edition of our Bingo card series.
Now on view in Pasadena, this exhibition explores how four artists challenged the limitations of gestural abstraction by exploiting the resonance of figural forms.
The artifacts are estimated to date from 400 to 300 BCE, when Greek settlements existed along the northern shores of the Black Sea near Odesa.
Jeremy Webster of Leicester University’s Attenborough Arts Centre reportedly pelted the statue from behind a fence.
Northwestern’s Block Museum of Art Presents A Site of Struggle: American Art against Anti-Black Violence
This new exhibition in Evanston, Illinois considers how art has been used to protest, process, mourn, and memorialize anti-Black violence for more than a century.
Snapchat CEO Evan Spiegel and model Miranda Kerr paid off the student loans of 285 recent graduates.
Cammie Tipton-Amini’s opinion piece “When Ukraine Was Newly Independent and Everything Was Possible” employs simplistic whataboutism that dangerously echoes Putin’s lies.
Anthony Banua-Simon’s documentary Cane Fire contrasts decades of Hollywood images of his home with its current reality.