The painting of Trump ominously descending an escalator on the day he announced his presidential campaign was sold by Phillips in London today.
Whitewalling is an important book that provides historical context for our current and recent controversies around protest; however, it would have been a stronger effort if the author had adopted a more consistent analytical and rhetorical approach.
Hamishi Farah’s portrait painting apparently based on a photo of Schutz’s son was intended as a response to her controversial painting of Emmett Till, “Open Casket.”
The signatories, a mix of members and members-elect, include Kara Walker, Dread Scott, Ed Ruscha, Jack Whitten, Judith Bernstein, and Peter Saul.
A group of local artists, activists, and community members is demanding that the Institute of Contemporary Art in Boston “pull the show.”
Through its feminist contributions, the exhibition offers a window onto some of our most pressing cultural concerns, as well as our shortcomings.
Three writers consider the controversy surrounding Dana Schutz’s painting of Emmett Till and the Whitney Museum’s public response to it.
Due to a “mechanical issue,” Schutz’s controversial painting and works by Maya Stovall and Julien Nguyen have been temporarily deinstalled.
A slow reading of Ajay Kurian’s work is influenced by a desire to view, parse, and converse with more work by artists of color, and is one of many strategies needed to challenge a dominant, incomplete idea of “American” art.
Presuming that calls for censorship and destruction constitute a legitimate response to perceived injustice leads us down a very dark path.
The debate over “Open Casket,” Dana Schutz’s painting in the Whitney Biennial, was a topic of heated discussion last week during an episode of The View.
Christina Sharpe says the issue at the heart of the dispute over the Emmett Till painting is not representation so much as intimacy and our relationship to violence.