Art in Odd Places’ public art and performance festival NORMAL is a clap-back to any appeal to returning to the previous status quo.
Nigeria’s business leaders will have to give generously; politicians will have to put rivalries aside; and contemporary artists will have to embrace the project.
In 2016 I noticed an image of tattooed skin affixed to a wooden plaque. Today I initiate court cases against the Ministry of Public Security.
Today more museum professionals are considering what it could mean to exhibit defaced monuments.
Thanks to the pandemic, the museum may be on the verge of shutting its doors just when Europe needs its Russian ambassador more than ever.
Any discussion of “The Bowman and The Spearman” would be incomplete without an understanding of the progressive, idealist politics behind Ivan Meštrović’s chosen style.
Fifty years ago, poet Heberto Padilla was forced to publicly denounce himself and his friends as counterrevolutionaries.
There were three “minority interns” at the National Gallery of Art in 1991. I was the “Hispanic” in the group.
I almost lost my opportunity to curate the show I’d come to moCa Cleveland to create. But these times are different and I’m unlike anyone to ever work there.
Contrary to what you might think, a problem isn’t occurring because there are more white people in some historical photo dataset.
The blockchain signals a shift in our identity formation in the 21st century.
By cutting, reframing, and layering, artists, including Rodell Warner and Alanna Fields, encourage a re-viewing of the past.