Earlier this month, Complex covered Supreme’s hitting Leah McSweeney of clothing line Married to the MOB with a $10 million lawsuit for copyright infringement, as McSweeney did a parody of the streetwear label’s logo as “Supreme Bitch.” Rightly, Complex wondered what the conceptual artist who inspired the logo in the first place thought about it, namely Barbara Kruger with her red and white sans serif text work. She’s long been quiet about it, but yesterday she delivered this response in a blank email to Complex’s request for comment on the lawsuit and all of the appropriation.
fools.doc indeed. And a pretty awesome update of her 1984 screen print:
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.
Part of the university’s Artists on the Future series featuring renowned artists and cultural thought leaders, this online event is free and open to the public.
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.”
This illustrated guide offers readers a broad and accessible introduction to the evolution of Armenian modern and contemporary art.
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.
This rigorous, studio-based program in Philadelphia focuses on building unique studio practices that synthesize the disciplines of printmaking, book arts, and papermaking.
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.