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A quirky Tik Tok account dedicated to rating sinks and faucets in public bathrooms across New York City posted a scathing takedown of the Museum of Modern Art’s (MoMA) new washrooms.
Sink Reviews delivers amusing, detailed reviews of sinks in restrooms at restaurants, parks, and other public dwellings, sizing up their aesthetics and functionality. Its anonymous creator eloquently reviewed sinks at places like IKEA, the Rockefeller Center, and Chelsea Market, among others. He has created a whole new sub-genre of criticism that he calls “Sink-tok,” using a rating system of one to five “sinks.” The growingly popular account boasts more than 712,000 followers to date, making many users notice and appreciate sinks for the first time.
“You’d expect one of the preeminent art museums in the world to have sublime sinks,” the sink critic said about MoMA’s facilities. He added, “Like a painting that doesn’t connect with you, I feel I’m left cold by these.”
The reviewer slammed the water flow of MoMA’s top-notch Dyson Airblade faucet-hand dryer hybrid as “frail and uninspired,” complaining that the dryers don’t even work. A few commentators, however, suggested that the built-in hand dryers were probably turned off due to COVID-19 safety protocols, pointing to signs on the mirror instructing visitors to use paper towels for drying.
Though the critic admired the “austere” design of the counter and the communal sloped basin of MoMA’s sinks, he determined that these chic design elements are “not enough to make up for the poor performance.”
“These faucets attempt to broadcast taste and refinement while all they actually communicate is a shallow attempt at taking a shortcut to achieve style by an institution that should know better,” he firmly concluded, giving MoMA a poor score of “two sinks.”
In the comment section, many of the account’s fans seemed to agree with the reviewer’s unforgiving judgment.
“Truly a missed opportunity,” one user lamented. “I have never listened to someone be so correct in my life,” another concurred.
Summing up the general sentiment, one commentator raised the rallying cry: “Say it with me now: stainless steel and marble does NOT make up for weak water pressure. Unacceptable.”
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
Works by Rodolfo Abularach, Mario Bencomo, Denise Carvalho, Pérez Celis, Entes, and Agustín Fernandéz are on view at the NYC gallery through January 7, 2022.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
“Ecosystem X,” an art-based reimagining of life on planet Earth, is the theme of this open call. 10 artists will win $5,000 and one student will receive $5,000 as a scholarship/stipend.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.