And no, Cambodia doesn’t need the Metropolitan Museum’s help in preserving its cultural heritage.
“A fine mist filled my eyes and I caught myself holding back the tears,” writes Dereck Stafford Mangus, an artist and a security guard at the Baltimore Museum of Art.
“The work of cultural restitution must be about what we give up, not just what or how we give back,” writes Dan Hicks in response to Arts Council England’s new restitution guidelines for museums.
At the retrospective of Sophie Taeuber-Arp, I thought to myself: Am I crazy? I must be tripping, this is straight out of Africa!
The absence of an explicit framing of American art, in all of its diversity, as a visual culture of empire distorts and hampers our ability to understand — and reimagine — our social world.
The unorthodox bodies that Donatello sculpted seem intertwined with the unorthodox relationship he developed between his own body and the bodies of other queer men.
As an official observer, advocate, survivor, and citizen, I spiraled into a vertigo worsened by the adamant conjectures of fanatics and truthers.
Readers and creators need more than a handful of publishers committed to seeking out diverse talent.
We were told that women were on the peripheries of the artistic movement, while in fact they were driving it forward, energetically engaging in this radical pictorial language.
As the global consensus on restitution passes the tipping point, some skepticism towards these sudden, improbable Damascene conversions towards restitution is probably justified.
As museums readily draft land acknowledgments, they should also be ready to leverage their presence and power on the land to meet the needs of their neighbors today.
Some have compared her album art to John Collier’s 19th-century portrait of Lady Godiva, but Beyoncé can channel her radical spirit without evoking Western art history.