By the end of my commissioned project, it was obvious that the agency owner had no respect for me as an artist, a contractor, or even as a person.
I recently visited the Hagia Sophia for the first time after its conversion and felt overwhelming sadness.
The Canada Council for the Arts will disburse $116.5 million, and groups that are “Indigenous, culturally diverse, deaf, disabled, or official language minorities” will share only 4% of these funds.
As I watched my photographs burn and turn to dust, I was reminded of the Phoenician legend of the Phoenix rising from its ashes.
If it seeks to help us “avoid the errors of the past,” more will be needed from Milan’s House of Memory museum.
Approaching the 20th anniversary of the attacks, the National September 11 Memorial & Museum at the World Trade Center faces a reckoning.
If hybrid festivals continue the way they do, the in-person experience will be held at a premium while the online content is given to the masses.
On Hinc et Nunc, I’ve witnessed artists organize initiatives that push for greater artistic exchange and accessibility.
We directors must leave the institution, and the field, better than we found it.
The question we should be asking of the sculpture is not whether it is a great work of art but whether it’s effective at defining a legacy.
The museum forgets that it is already a violent graveyard of colonial-era cultural trophies removed from their homelands under dubious circumstances.
A 2013 study which analyzed the size of handprints accompanying animal drawings found that women were more likely to have made them.