All the Beauty and the Bloodshed centers the artist’s campaign to stop the “artwashing” of the Sackler family’s role in the opioid crisis.
All the Beauty and the Bloodshed forcefully posits multiple parallels between the world Nan Goldin grew up in and the one she fights in today.
We joined devotees of the photographer and activist at a screening of the new documentary All the Beauty and Bloodshed, followed by a talk with Goldin.
But a museum in Harvard is still named after a member of the disgraced family, notorious for its role in the opioid crisis.
Laura Poitras’s All the Beauty and the Bloodshed follows Goldin’s fight against the Sacklers’ attempts to artwash their reputations as chief architects of the opioid epidemic in the United States.
Four captivating examples of the artist’s photographs, taken between 1973 and 1984, will be auctioned in August as part of Swann’s fourth annual LGBTQ+ Art, Material Culture, and History sale.
If the deal is approved, the Sacklers would pay up to $6 billion and lose their cherished naming rights at institutions.
Activists from advocacy groups PAIN Sackler and Truth Pharm denounced Judge Robert D. Drain’s “bankruptcy scam.”
Vast in size and scope, Memory Lost recalls a mid-career retrospective more than a single gallery show.
Private text messages published this weekend by The.Ink show how members of the Sackler family tried to use the museums that received their money as a way to clear their names.
Last week’s House Oversight Committee hearing was the first time members of the Sackler family publicly addressed their alleged role in the epidemic.
“Interoffice documents paint a dark picture of profit for the family at the expense of human life,” the artist-activist group P.A.I.N. told Hyperallergic.