Freelance workers are asking to be paid for work scheduled prior to the outbreak of the coronavirus.
Recently unionized workers urge the Guggenheim’s trustees to wield their influence on the museum’s “reluctant” management.
I fear that the visual culture in which these works were admired is now one of those distant “you had to be there” moments, which are impossible to reconstruct.
Simone Leigh’s work, on view at the Guggenheim Museum, is inhibiting in a particularly difficult way: it doesn’t seduce; it doesn’t explain, it doesn’t rely on interpretation; it doesn’t care what I think.
More than 90 workers will join Local 30, a union that includes installers and maintenance workers at New York’s MoMA PS1.
Join the Guggenheim Museum for a series of conversations with the six artist-curators of Artistic License on select Tuesdays from June 18–December 17, 6:30 pm.
The survey of the late Swedish abstract painter has drawn 600,000 visitors, increased museum memberships, and broke another record in catalogue sales.
“What’s S&M?” I overhear a woman asking her husband in the exhibition. “The artist says here that it stands for sex and magic, but this set up doesn’t look very magical.”
Hilma af Klint reminds us that institutionally approved narratives generally function as touchstones for conformists and the weak-kneed.
Witchy and prescient, Hilma af Klint’s paintings from the early 1900s curiously combine spiritualism with an interest in evolutionary biology.
The Smithsonian, Sotheby’s, and landmark institutions across NYC are under pressure to address their financial connections to the Saudi Arabian government in the wake of the suspected murder of Jamal Khashoggi.
In Prurience, Christopher Green asks his audience to “consider if society is in the grip of an actual addiction or a moral panic.”