After a months-long dispute, the 160-foot artwork was recently removed from Jack Shainman Gallery’s upstate outpost, but a recent vote ruled that Cave’s message was “a political message and art” and therefore protected by the First Amendment.
A local zoning appeals board hearing will soon decide whether Cave’s colossal textual work, “Truth Be Told,” is art protected by the First Amendment, or rather a sign that may be regulated by law.
From playful to political, there are 80 options by artists including Nick Cave, Mona Hatoum, and Wang Sishun.
At the Aldrich Contemporary Art Museum, artworks confront their own untimeliness through appeals to a deeper, more cosmic, sense of space and time.
Hyperallergic spoke with Cave about what it means to surrender to the sacred, and how a queer perspective brings liberation and a way of seeing and being in an at-times seemingly disconnected world.
At museum-hotel chain 21c’s new Kansas City location, an art exhibit reflects on immigration and refuge.
The late civil rights activist and Black arts patron Peggy Cooper Cafritz has bestowed the “largest gift ever made of contemporary art by artists of African descent” to the Studio Museum in Harlem and the Duke Ellington School of the Arts.
In “The Let Go” at the Park Avenue Armory, the artist explores jubilation washed with spectacle and an undertow of anguish.
The decorative alchemy that should transform these objects into a stronger form of messaging falls flat.
When personal expression is your aesthetic mode, then aesthetic quality depends on quality of personality.
DETROIT — Despite the conference featuring some of the Detroit’s leading thinkers and most innovative practitioners discussing a compelling topic — the intersection of art and ritual — I felt deeply ambivalent about attending.
DETROIT — Can an exhibition be informed by the place it visits?