For The Hungry Artist Exhibit, David Datuna invites us to reenact the “performance piece” in which he ate Maurizio Cattelan’s $120,000 banana artwork.
On April 21, Zamora will activate the roof garden, while Bove’s work will fill the façade niches starting September 9.
Employees tell the Philadelphia Inquirer that James A. Cincotta would hit, slap, punch, pinch, and shove his colleagues to the point of bruising and tears, as well as denigrate them verbally, often in public.
The arpilleras narrated the course of Pinochet’s brutal dictatorship through bold colors, broad stitching, and striking imagery, often incorporating fabrics from their disappeared children’s clothes.
In his installation film The Destructors, Imran Peretta looks at the trauma inflicted by counterterrorism laws.
With his latest novel Yellow Earth, Sayles showcases his knack for capturing the character of a region and the real-life ramifications of political and social issues.
The painter and musician moved West in 1965 to attend the San Francisco Art Institute — the only desegregated art institute at the time. Currently featured in the traveling Soul of a Nation, he continues to make ambitious work.
Hyperallergic spoke with the prolific Portuguese director about his distinct approach: “I tend to have this obsession with a balance between what’s in front of and behind the camera.”
Also, for the first time since the Renaissance, Raphael’s tapestries are reunited at the Sistine Chapel, artist Felicity Hammond denounces the Dutch art fair Unseen for not paying its artists, and more.
Sarazin de Belmont was a rare talent: a self-funded artist and a woman who broke the courtly codes to travel unchaperoned for several years as she created open-air landscapes on the Italian peninsula and the French Pyrenees.