The Taíno civilization was decimated by Christopher Columbus and other European explorers during first contact, but the legacy of these people, who inhabited what is today called the Caribbean, continues to this day.
In a small exhibition at the Metropolitan Museum of Art, titled Arte del mar: Artistic Exchange in the Caribbean, Assistant Curator James Doyle showcases some of the rare wooden objects, along with the intricate gold pieces, fascinating stone stools, and other objects that have survived over the centuries. He explains what makes the artistic objects of the Taíno unique, why bats and other animals are common in the imagery, and what we know about a civilization that was drastically impacted by the devastation and genocide of European colonization.
Also, some good news: the run of the exhibition has been extended until June 27, 2021.
The music for this week’s episode is “The Shady Road” by artist B. Wurtz. His debut album, Some Songs, will be released on October 16 by Hen House Studios.
Daniel Weiss, who joined the museum in 2015, led the institution through the turmoil of the pandemic and oversaw milestones like the implementation of paid internships.
Two men were arrested after using a sledgehammer to break a glass display case at the art fair. Police are searching for two more suspects.
Convened by Erika Sprey, Lamin Fofana, Sky Hopinka, Emmy Catedral, and Manuela Moscoso, the public program unfolds this summer at CARA in New York City.
The Project of Independence at MoMA probes the limits of modernist construction in South Asia.
The newly opened Cheech Marin Center for Chicano Art & Culture — also known as “The Cheech” — celebrates, spotlights, and complicates representations of Chicano art.
The Bay Area art book fair is back this July with free programming at three different on-site venues, new exhibitors, and fundraising editions from renowned artists.
The Detroit-based artist draws from her Russian, Ukrainian, Jewish, and African American roots to create a dazzling new ornamental language.
Stuffed with references to historical and contemporary film, Olivier Assayas’s miniseries version of his own 1996 film Irma Vep is sometimes too clever for its own good.
Shows at the Hudson Valley’s Hessel Museum of Art feature artists Dara Birnbaum and Martine Syms, as well as new scholarship on Black melancholia as an artistic and critical practice.
The authenticity of the works, whose owners say Basquiat sold to Hollywood screenwriter Thaddeus Mumford in 1982, has been heavily scrutinized.
The Utah site has been subject to longstanding contention over federal lands management.
At a time when many Black artists turned to figuration, Gilliam harnessed the power of abstraction, freeing the canvas from its support.