A complaint by UAW Local 2110 on behalf of the staffers accuses the museum of laying off workers without notice or severance and withholding information from the union.
The portrait will be the first cover of the magazine to not feature Oprah Winfrey in its 20 year history.
The show at the Pompidou Center demonstrates that the artists’ reputation as “ephemeral architects” or “temporary monument” makers is incomplete, if not altogether incorrect.
Pending approval from the state and city, the museum plans to reopen September 9 after being closed for the COVID-19 pandemic.
On July 21, the Getty Board of Trustees posted a response to a July 15 open letter written by hundreds of current and former Getty employees as well as museum visitors. In its response, the institution touts some of the steps it has taken towards diversity, while also acknowledging “that Getty has much work still to do.” In the comments section of the post, the team that organized the initial open letter noted that the “Getty must realize that such public-facing projects do nothing to address the discrimination faced by staff.” Read the full story here.
The Crenshaw Dairy Mart, Residency Art Gallery, and new community center Summaeverythang are part of a lineage dating back at least 50 years to the Black Arts Movement.
This week, artists reflect on quarantining from their studios in New York, Missouri, New Jersey, and Georgia.
Also, Congress passed legislation to create the Smithsonian National Museum of the American Latino, and more.
From a glass tray featuring Keith Haring’s “Crack is Wack” to a handkerchief by the Guerrilla Girls, check out Hyperallergic’s favorite new products and classic bestsellers.
Students and activists are demanding the University of Pennsylvania’s Penn Museum abolish a crania collection that was collected by a racist physician in the 19th century.
The group Artists for Workers mimicked the visual language of the Guggenheim’s official website to pressure the museum “to improve material conditions for workers and build solidarity among artists and arts workers.”
With her recent book, Alice Procter shows us the things many museums hide, the parts of objects’ histories that aren’t warm and fuzzy (or flattering for the institutions that now hold them).