There’s something about pristine, mountainous landscapes that has inspired some of the tackiest public monuments in recent decades.
There’s something delightful about seeing famous artists in settings completely unrelated to their art.
Culture in the 21st century is a minefield of trigger warnings, a nebulous type of cautionary note that is deployed as a way to warn people about the content they’re about to encounter.
BOSTON — Before 1968, when Philip Guston more or less began working on a new body of work that would define his late career, it could be said of him, as it was of Lord Dartmouth by the poet William Cowper: this was a man “who wears a coronet and prays.”
A new report on the restitution of Holocaust-era artworks condemns a number of US museums for failing to resolve claims straightforwardly and instead resorting to legal maneuvers to have them dismissed.
On Friday a collective known as Never 21 staged a performance and action at the 21 Club, a high-end eatery in Midtown Manhattan, calling attention to the police killings of black youth.
He’s most recognized for helping to dot the yards of US suburbs with shocking pink plastic flamingos — the exemplar of kitsch that rose from its resin roots to become the “ambassador of the American lawn” and even a “signpost for the transgression of social and cultural convention.”
The English-language newspaper Dhaka Tribune reported on Friday that part of a 400-year-old wall protecting the historic Lalbagh Qilla has been demolished — and that the Bangladeshi government’s Archaeological Department signed off on the action.
In the late 1970s, Loy Bowlin in McComb, Mississippi, styled himself as the “Original Rhinestone Cowboy.”
All flags bear the stain of conquest.
Just in case you need ideas.