To mitigate an anticipated budget shortfall of $1.5 million, Stony Brook University has slated multiple humanities programs for consolidation, including suspending admission of new majors to the Theatre Arts department.
Last Friday, Occupy Museums held a “counter-commencement” at the Whitney Museum of American Art that called attention to student debt and “speculative investment in art and culture.”
The Artists Rise Up protest secured prime art world real estate near Lincoln Center in New York, but drew only a couple dozen passionate protesters.
The National Museum of Fine Arts of Havana has declined to send artworks to the Bronx Museum as planned, and Tania Bruguera says it “has neglected to tell the whole story.”
Which languages should institutions prioritize? Should choices be based on current patrons or on visitors they’d like to reach?
Earlier this week, Amnesty International issued an urgent call for the release of Cuban graffiti and performance artist Danilo Maldonado Machado, also known as El Sexto.
People who have the luxury of not being directly affected by the world’s many injustices often feel fatigued by so much bad news.
When Mexico City artist Saner started talking with Jonathan LeVine Gallery about his first solo show with the space, the 43 students in the rural town of Ayotzinapa, Mexico, who would be disappeared by military and police in late September 2014, were still going about their daily lives.
When 43 students from the Raúl Isidro Burgos Rural Teachers College of Ayotzinapa, Mexico, were “disappeared” by police on September 26, it didn’t take long for residents of the town, and then the state of Guerrero, and then the nation at large to head to the streets to express their rage and sorrow and demand answers.
Let’s start by saying, just in case it’s not obvious, that there’s something nearly impossible about conceptualizing and mounting a show as wide in its thematic and geographic scope as Under the Same Sun: Art from Latin America Today, curated by Pablo León de la Barra.