Opinion
Why Native Artists Are Reclaiming the Whirling Log
The Diné symbol was suppressed for decades by a settler-dominated art market that conflated it with the Nazi insignia.
Opinion
Opinion
Who's Left Out of the Frame in the Viral Trump Shooting Photo?
In the compulsive analysis of the former president’s image, we risk overlooking the mundanity of gun violence and its less mediagenic casualties.
Opinion
How Modern-Day Christian Iconoclasts Lost Their Heads
The vandal who beheaded Esther Strauss’s sculpture of the Virgin Mary in labor disregarded centuries-old depictions of the mother of God as just a mother.
Opinion
How Can a Small Bohemian Town Help Artists Stay Afloat?
Historic arts enclaves like Provincetown, Key West, and Taos, and American culture at large, lose when they fail to invest in artists and writers.
Opinion
Brooklyn Museum Is Complicit in Violence Against Protesters
No other museum in living memory has permitted the mass arrest of members of the arts community engaged in a non-violent assembly.
Opinion
Did Auguste Rodin Steal From Camille Claudel?
What went so wrong that the brilliant sculptor’s work became so little known? Simply put, she entered Rodin’s studio.
Opinion
In Defense of Jonathan Yeo’s King Charles Portrait
Just like Velázquez’s last portrait of King Philip IV of Spain, Yeo’s blood-red painting signifies the imminent downfall of a monarch.
Opinion
How Can Grantmakers Support Artists of Color?
Those of us in arts philanthropy need to redouble our efforts to fund artists and organizations of color and sharpen our grantmaking practices to advance racial justice.
Opinion
Tagging “Me Too” on a Courbet Is Not the Feminism We Need
Deborah De Robertis’s protest performance signifies precisely what is wrong with current feminist discourse.
Opinion
The Palestine Congress That Never Was
Inside Berlin’s censorship of a Palestine solidarity conference that police shut down as soon as it began.
Opinion
Celebrating Seder at Columbia’s Gaza Solidarity Encampment
The student protest was a most fitting setting for a peaceful, focused, and deeply moving Passover seder.
Opinion
The Miscarriage Collages That Were Too Much for the Art World
In 1974, the San Francisco Art Institute isolated Joanne Leonard’s series Journal of a Miscarriage from the rest of the works in her solo show. Has anything changed since?