Support Hyperallergic’s independent arts journalism.
Artist Adam Simon’s Steal This Art series is pretty well known to the art hordes of the Bushwick art scene, but now someone has taken the words on the surface of the small painting as a challenge and snagged it from the Momenta Art benefit this month.
The Brooklyn Paper‘s Aaron Short reports:
The staff at Momenta Art is scrambling to find the crook who grabbed the five-by-seven-inch wood panel, valued at $300, which Simon donated as part of an annual fundraiser for the art space on Wednesday night.
This isn’t the first time someone has taken a work from the series. Last year, someone attempted to steal another work from the same series at Storefront Gallery in Bushwick but the painting was retrieved.
Simon doesn’t appear to enjoy the joke.
The new generation of artists and curators is eager to explore alternative organizations and to tackle current social inequalities and issues.
Her female nudes were extraordinary for the time because she portrayed female sexual desire. Her subjects defied conventional ideals of femininity.
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.
Francis made over 10,000 artworks, starred in more than 100 solo exhibitions, and, in the late 1950s to mid-1960s, commanded the highest prices of any living painter.
Brian Blomerth’s Mycelium Wassonii deploys amazing graphic storytelling to share his own exploration of mushroom history
Over a century after Wright designed a workplace that borrowed features from the home, designers are at it again, but who does a homey office really serve?
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.
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.
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.