- Carolina Miranda of the LA Times surveyed a number of Los Angeles art galleries and the results are troubling. It’s a well-researched article:
- Dalton Walker writes about the legacy of Ojibwe artist Patrick DesJarlait, who painted “Mia” for the Land O’Lakes brand. He explains how something that began as a way to more accurately represent Native Americans ended up as a widely disliked stereotype:
DesJarlait’s son, Robert DesJarlait, 73, said he was initially glad that the stereotypical image was finally removed. Then, the power of social media reminded him of another side of the discussion that was overlooked.
On his Facebook page, Robert said many Ojibwe people shared their perspective of Mia while growing up Native. “Basically, it was giving the previous generation a sense of almost empowerment to see a Native woman on a box of butter. It gave them a sense of cultural pride,” he said. “After seeing those posts, I said, ‘that’s right, that’s why my dad created this image to begin with’.”
- The head of the framing department at the National Gallery in London demonstrates how he created six huge matching frames for the Titian: Love Desire Death exhibition:
- George Packer writes about how President Trump is destroying the civil service and bending the government to his will:
But a simple intuition had propelled Trump throughout his life: Human beings are weak. They have their illusions, appetites, vanities, fears. They can be cowed, corrupted, or crushed. A government is composed of human beings. This was the flaw in the brilliant design of the Framers, and Trump learned how to exploit it. The wreckage began to pile up. He needed only a few years to warp his administration into a tool for his own benefit. If he’s given a few more years, the damage to American democracy will be irreversible.
- I’m an avid listener of the Ottoman History podcast and this episode is very timely because scholar Sylvia Alajaji discusses how in the wake of the Armenian Genocide, music not only gave Armenians a reason to live, but also opened up broader questions about how to define what it meant to be Armenian (yesterday was the 105th anniversary of the Armenian Genocide):
- Michael Harriot writes that ‘Open the Economy’ Is the New ‘White Lives Matter‘:
America is blood.
It was, it is and it always will be.
This recent example isn’t particularly different from All Lives Matter advocates’ refusal to acknowledge the racial data behind police killings or the value of black lives. It’s no different than Alabama’s pro-life Gov. Kay Ivey signing a bill to ban abortions while assassinating Nathan Woods for not killing someone. It’s America’s story of slaughter and slavery and genocide and Jim Crow and Japanese-American internment camps and Charlottesville, Va., and child detention centers and Tuskegee and Tulsa and Bombingham and “Both Sides” and Trayvon and Trump…
Roof Culture during Quarantine in NYC pic.twitter.com/uO2tREheMu
— Jeremy Cohen (@jerm_cohen) April 18, 2020
This is the best song on the internet. pic.twitter.com/VzGzJAtvDx
— Nick Harvey (@mrnickharvey) April 20, 2020
My kid, trying to explain how bad her stomach ache feels: “I’m museum sick. Like when you’re so bored from just looking at things.”
She’s 4. I’m an art historian. Low blow, kid, low blow.
— Erin L. Thompson (@artcrimeprof) April 19, 2020
Somebody found this Corgi puppy laid out in a shop surrounded by claret. They thought he’d been attacked and was hurt and bleeding…
Turns out he’d eaten and entire jar of Jam and passed out on the floor on a sugar rush
I can’t 😂😂😂
(Via FB Taylor Payne) pic.twitter.com/Wyd7PmEFOt
— StanceGrounded (@_SJPeace_) April 20, 2020
Now playing the Cannes Film Festival, the new film from the director of The Square embarks on a luxury cruise that goes to hell.
By enshrining her memories into sculptural form, Juárez celebrates her emotional pilgrimage through the growing pains of childhood to adulthood.
A journey spanning three continents over 1,500 years comes to the National Mall in Washington, DC. On view at the Smithsonian’s NMAA through September 18.
These university museum leaders are bridging cultural chasms through elaborate and generative work with their students.
Curators at the Maidan Museum in Kyiv are sifting through the rubble for items that “tell the story of ordinary people’s lives, of their deaths.”
Graduate student work representing 19 disciplines is featured in a digital publication and returns as an in-person exhibition at the Rhode Island Convention Center.
The cube, which has fallen into disrepair, was strapped in place by supportive metal implements at its base.
Inigo Philbrick misrepresented the ownership of and fraudulently traded in works by Jean-Michel Basquiat, Yayoi Kusama, and others.
Installations by Jessica Campbell, Yasmine K. Kasem, Suchitra Mattai, Haleigh Nickerson, and Nyugen E. Smith are now on view at JMKAC in Sheboygan, Wisconsin.
Author M. T. Anderson walks us through a sonic gallery of Vasily Kandinsky’s musical influences, which guided the painter’s pursuit of art that reveals a mystical, inner truth.
In yet another horror movie that’s actually about trauma, writer-director Alex Garland makes his points bluntly, having one actor play many facets of misogyny.
Time is itself a recycling process for Cole, whose freewheeling spirit transcends linearity in his excavations of art and music history.