The argument that “post-election pain” is good for art is cold comfort.
“Left Right Left Right (1995), a piece by Annette Lemieux at the Whitney Museum that consists of 30 images of raised fists, has been turned upside-down at the artist’s request.
The day after the election, the art collective T.Rutt was informed it would no longer get to show its anti-Trump bus and flag works at the Red Dot Fair in Miami.
The shock after Donald Trump’s election has turned to anger and determination, a galvanizing desire to fight for change and a better world than the one the President-elect plans to create.
In Japan, drawing this kind of visual comparison between two objects is at the root of the concept of mitate (見立て), which has been used in traditional art practices, like ukiyo-e prints, for centuries.
Over four years, Oliver Curtis traveled to the world’s most-photographed tourist sites, from the Parthenon to the Hollywood sign, and took pictures while facing the “wrong way.”
Assigning value to a cheap, everyday thing that a famous person happened to use can be explained in part by what psychologists call the “law of magical contagion.”
Hillary Clinton appears to be artists’ favorite in the 2016 US presidential election, while her opponent Donald Trump has not been endorsed by a single well-known artist.
A new short documentary shows Kate Charles, a sculptor who crafts elaborate and hyperrealistic babies known as “Reborn Dolls,” at work.
A group of interns at architecture firm Estudio 3.14 created 3D renderings to visualize Trump’s proposed Southern border wall as a tribute to Mexican architectural heritage.
On November 6, the Moving Company will stage a new performance, in which mover Ruby Onyinyechi Amanze will dance in cement shoes and yellow-feathered knee pads, while Tina Wang and Mor Mendel joust with fly swatters.
A month ago, Baldwin sued Boone, alleging that she’d sold him a copy of a painting rather than the original. Now she’s filed a motion that accuses him of committing fraud.