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This week in art news: Artforum’s co-publisher Knight Landesman resigned over accusations of sexual harassment, Condé Nast banned its publications from hiring photographer Terry Richardson, and a bust of Napoleon newly attributed to Rodin went on public display.
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The early-morning action, by a new activist group calling itself the Monument Removal Brigade, is the latest in a series of protests demanding the statue's removal.
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The Mayor's Commission on City Art, Monuments, and Markers has launched a seven-question survey asking for public feedback about potentially hateful monuments.
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Wandering around Gowanus this past weekend, you saw the new wave of creative energy that continues to cAll the area's studios and galleries home.
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On Wednesday, Deborah De Robertis was acquitted for her performance in which she shouted, “Mona Lisa, my pussy, my copyright,” while revealing her vagina.
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This week in art news: Anti-gentrification groups protested Omer Fast’s exhibition in Chinatown, a campaign was launched to save an iconic artwork on Auschwitz, and reporter Tim O’Brien recalled an exchange with Donald Trump over a Renoir knock-off.
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The artist released a statement after Sunday's protests, and the protesters have responded.
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The World Monuments Fund announced the 2018 World Monuments Watch, listing 25 sites, from the hurricane-hit Caribbean to modernist architecture in India.
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Dozens of people interrupted James Cohan Gallery's Sunday hours to demand that the gallery and artist take down what the protesters see as "racist aggression towards the community of Chinatown."
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This week in art news: Marina Abramović abandoned plans to open the Marina Abramović Institute, the UK government announced a public consultation on ivory sales, and Semiotext(e) cancelled an event following pressure from the anti-gentrification group Defend Boyle Heights.
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For centuries, locals in the jungles of Meghalaya, India built living root bridges for practical purposes. Now there's a rush to ensure they survive in the face of industrialization.
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The case emphasizes the importance of clear formal agreements between public art commissions and artists.