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The International New York Times publishing partner in the United Arab Emirates has declined to print the May 20 edition of the paper over a front-page story on labor abuses on the country's Saadiyat Island in Abu Dhabi.
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A front-page investigative story published in the New York Times today has confirmed previous allegations of labor abuses in the United Arab Emirates (UAE), echoing the findings of the Guardian, Human Rights Watch, and — most recently — the Gulf Labor activist group.
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At a hard-hat tour of the Whitney's Renzo Piano-designed building in downtown Manhattan earlier this month, it was announced that the institution plans to extend a year of museum membership to the project's construction workers.
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Well, it was nice while it lasted. After revising its policy in April to allow photography inside the permanent galleries, the Frick Collection has once again changed course.
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Australia's conservative government will nearly halve its budget deficit in the coming fiscal year, in the process eliminating more than AUS$100 million (US$93.6 million) in funding for arts and culture programs, the Sydney Morning Herald reported.
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The Corcoran Gallery of Art's absorption into George Washington University (GWU) and the National Gallery of Art in Washington, first announced in February, has been finalized, the Washington Post reported.
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Detroit judge rebukes creditor demands, Florida increases arts funding 384%, Smithsonian goes API, and more from the week in art news.
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At a meeting Tuesday night, the Economic Development, Culture & Tourism Committee of East Harlem's Community Board 11 (CB11) passed a resolution demanding that the Frieze Art Fair direct 1% of its revenues back to nonprofit organizations in the South Bronx and East Harlem.
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NEW ORLEANS — When we last left “The Wave,” Lynda Benglis’s monumental bronze sculpture she created for the 1984 World’s Fair in New Orleans, it had just been rediscovered behind a disused sewer treatment plant in suburban Kenner, Louisiana.
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The Yams Collective, the largest of the eight collectives participating in the 2014 Whitney Biennial, has withdrawn over objections to the curatorial program, Hyperallergic has learned.
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When Antony Gormley's "Event Horizon," a series of 30 life-size fiberglass sculptures cast from the artist's body, were first installed on rooftops around the city of London in 2007, people mistook them for suicide jumpers and called the police. Now, a presentation of "Event Horizon" in Hong Kong ha
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The Detroit Institute of Arts (DIA) has turned to a judge to help keep its art on its walls and out of the hands of the city's bankruptcy creditors. Last night, the museum filed an objection to a proposal spearheaded by Financial Guaranty Insurance Co. (FGIC) and Syncora to reevaluate the art in the