Overlaid with trauma, guilt, and questions of accountability, neither the small space of Elongated Shadows, nor its online viewing room, can quite contain all of those layers.
Installed in over 500 bus shelters and 1,700 wifi kiosks around the five boroughs, Art on the Grid softens, just a little, our long waits, for the bus, for the pandemic to be over.
As stores begin to reopen, the future of these artworks remains in limbo but one thing is certain: for the first time in decades, the Manhattan neighborhood is teeming with art again.
While the government promises to preserve the Picasso murals to be utilized in a new building, preservationists are unmoved.
Artists are rallying in the wake of Isabel Cabanillas de la Torre’s murder, with an artist collective asking that people all over the world take to the streets to protest their member’s death tomorrow, January 25.
Philip Buehler’s photographs are neither a nostalgia fest nor disaster porn, but an unsparing documentation of the decay that marks time and cultural change.
Anyone willing to view Alice Miceli’s Projeto Chernobyl on its own terms, to see radiography as both a practical tool and a potential art form, will be richly rewarded.
The renovation aims to be big enough to not only hold the institution’s art, but its promises.
The works in Figuring the Floral start a conversation, collaborate, and even merge with the natural beauty of the public garden and cultural center Wave Hill.
Author Clare Clark’s In the Full Light of the Sun raises important questions about the lengths we go to distract ourselves from governmental horrors, and how art can’t save us, but it doesn’t manage to find easy answers.
Levin conducted 250 interviews with Chicago and her friends, family, colleagues, admirers, and critics, and had access to Chicago’s diaries and letters.
One activist called the protest an opportunity for museumgoers to consider “the role that our cultural institutions play in our everyday decisions and choices, and the effect that that has.”