It appears that mid-century modernism’s cultish popularity has all but blinded us to the basic needs it was initially meant to address.
Psychologically, the work of both Gertrude Abercrombie and Hughie Lee-Smith enhance the otherworldly isolation of “Nighthawks.”
In a recent episode on Aileen Wuornos in the docuseries, Catching Killers, one talking head investigator is baffled by her actions, but I understand her deeply.
What holograms offer only reminds us that the types of audience interaction they invite cannot fully animate the past.
The British Museum’s complicity in BP’s artwashing ranks alongside the museum’s continual refusal to engage with its own colonial history.
The vast majority of museums have a long way to go before we can truly say that they are welcoming for anyone and everyone to visit.
Collaborations with the State Hermitage Museum are particularly problematic since the director, Mikhail Piotrovsky, flaunts his bond with Putin.
The true problems relate to the invisible architecture of these institutions that cannot or will not respond to the needs of parents.
A colleague once told me “You live better when you work in a union, especially in an art museum because you work for elitists.”
Basildon’s new murals represent how artists are used in regeneration schemes the world over: socioeconomic cover-ups under the guise of opportunity.
This culture industry perfects the mechanisms for the wholesale destruction of art not beholden to establishment narratives.
The organization serves as one of the largest nodes in the Classical Realist movement.