The caper of the octogenarian restorer continues!
BBC News has an interview with Cecilia Gimenez, the woman in Borja, Spain, who took it upon herself to restore a 19th-century church fresco by painter Elías García Martínez. Gimenez indicates that although she may have gone a bit overboard, having local people touch up paintings is the norm: “We’ve always restored everything here!” she tells a BBC interviewer, who follows up by asking if someone told her to do the work.
“Of course, it was the priest!” answers Gimenez. But the BBC reporter isn’t having it. “You did it secretly, didn’t you?” she asks.
Oh dear. This poor woman.
Gimenez responds emphatically that, no, she didn’t, but her protest is made even more amazing by the BBC translator’s voice, which sounds like a loopy Monty Python caricature. “Noooo, of course not!”
A Borja Culture Councillor said the town is bringing in professional restorers to see what they can do to fix the painting. In the meantime, instead of Jesus, worshippers at the church can pray to an overweight Eskimo.
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The banana’s dominance and ubiquity has had serious and far-reaching implications for the region, engendering exploitative labor systems, climate change, and migration.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.
The 18-month fellowship aims to provide artists with “as much access as possible” to the club’s facilities and networks “at a time and place convenient to artists.”
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
A coalition of investors raised funds to purchase the film’s storyboard and announced they would “make the book public.”
A new project, “Emoji to Scale,” orders every mini-object by their real-world dimensions.
Although Khedoori does not depict living beings, their presence is evoked in the traces they leave behind.
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
While it may be strange to think of food insecurity as a basis for art, the works in Food Justice reveal barriers and injustices in food access.