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On August 4, a French child visiting London with his family was found on Tate Modern’s fifth-floor roof after being pushed from the museum’s tenth-floor viewing platform. Soon after, British teenager John Bravery was charged with attempted murder, and today he plead guilty.
BBC reports that Bravery’s lawyer informed the court that his client is on the autism spectrum, has been diagnosed with obsessive compulsive disorder, and that he possibly has a personality disorder. Bravery told police he planned in advance to hurt someone at the South Bank gallery that day to prove “to every idiot” that he was affected by struggles with mental health, hoping it would be broadcast on television. He said, “I wanted to be on the news, who I am and why I did it, so when it is official no-one can say anything else.” Bravery will be sentenced in February.
While the child survived, his family says that, “He is constantly awoken by pain and he can’t communicate that pain or call out to hospital staff […] We don’t know when, or even if, we will be able to return to work, or return to our home, which is not adapted for a wheelchair.”
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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.
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.
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.
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.