Week in Review is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.
Photographs by blogger Bucky Turco capture the chaos of the pro-Trump mob storming the Capitol building on January 6.
Commentators are calling attention to Trump’s hypocritical silence on the defacement of federal monuments during the insurrection at the Capitol. He had previously authorized “up to 10 years in prison” for anyone who vandalizes or destroys federal property.
From an artist’s rendition of Capitol police rolling out the red carpet for pro-Trump insurrectionists, to memes about the Viking hat and white supremacist tattoo-clad QAnon supporter, people have turned to social media to cope with and reflect on the events of January 6.
Last month, a DC arts organization postponed its projection of a bloody artwork by Andrei Molodkin, which floods an acrylic model of the White House using blood donated by US citizens. The decision was made after a violent march in December that led to several stabbings, and in anticipation of the violence that might follow the Georgia runoff election results.
See a rundown of some of the many artworks and creative acts that were censored in 2020.
The Smithsonian’s National Museum of American History is seeking first-person accounts for Stories of 2020, a time capsule about the whirlwind year.
Juliana Notari’s “Diva,” a massive, concrete and resin vulva sculpture built on a hillside in Pernambuco, Brazil, has prompted outrage from conservative groups.
The most recent excavation of a 15th-century Aztec shrine revealed the skulls of 119 men, women, and children.
The Valentine Richmond History Center in Virginia wants to display a Jefferson Davis statue created by artist Edward Valentine, the museum’s first president and a major Confederate sculptor.
The Amsterdam District Court rejected claims from the heirs of a Jewish art collector that a 1909 painting by Kandinsky in Amsterdam’s Stedelijk Museum was sold under Nazi-era duress and should be returned.
As of January 1, the public domain includes classics like F. Scott Fitzgerald’s Fitzgerald’s The Great Gatsby, Virginia Woolf’s Mrs Dalloway, Alain Locke’s The New Negro, and the silent film “Lovers in Quarantine.”
The Carnegie Museum of Art announced Ronald Lee Newman as deputy director; Dana Bishop-Root as director of education and public programs; and Aryn Beitz as director of design and publishing.
Jim Coddington has joined the Joan Mitchell Foundation‘s board of directors.
Amanda Coulson was announced as the founding director of TERN Gallery.
Douglas Melini is now represented by Miles McEnery Gallery.
VICTORI + MO is changing its name to Dinner Gallery.
Roderice Cardell (1987–2021), South Carolina artist involved in painting a local Black Lives Matter mural | Fox Carolina
Anthony Gauthier (1942–2020), Wisconsin mural artist | Green Bay Press Gazette
Maury Berggren (1938–2021), Kansas stained-glass artist | The Mercury
MF Doom (1971–2020), popular rapper and record producer | Rolling Stone
Kim Tschang-Yeul (1929–2021), abstract artist | ARTnews
To understand contemporary art, it is necessary to investigate the connections that are sometimes omitted or undervalued in art history.
Gearhart founded a print gallery with her sisters and was at the center of the Arts and Crafts movement in southern California.
Featuring underwater recordings from around the world, this immersive, site-specific installation is on view at the Lenfest Center for the Arts in NYC from February 3 to 13.
Video art was something you watched “with the lights on,” as França insisted, without pretenses of high art.
PHASE 2 would emerge as an innovator in New York’s burgeoning subway art movement, creating elaborate murals that would shape the evolution of both the spray can and the art form.
BRIC’s multidisciplinary program in Brooklyn has cohorts in Contemporary Art, Film & TV, Performing Arts, and Video Art. Applications are due March 10.
While the South Asian diaspora is one of the largest and most widely dispersed in the world, the Indo-Caribbean community is often overlooked and excluded from discussions of South Asian art.
The Bay Area artist believed in shaping artists rather than relaying rules.
Open-ended, community based, and collaborative, “esolangs” serve as a reminder that digital art has other histories and other futures.
Working with what they had, Cass Corridor artists scrapped and repurposed anything they could get their hands on, attempting to find some salvation for their city through a literal process of salvage and reuse.
Throughout the 1970s and into the ’80s, artists in Los Angeles created organizations and exhibition spaces to develop the resources they lacked.