Under which conditions should an art museum ethically and responsibly do business with a repressive authoritarian government?
I couldn’t in good conscience accept an invitation to an exhibition hosted and sponsored by a brutal regime.
BIENALSUR, the International Biennial of Contemporary Art of the South, has returned to Saudi Arabia for an exhibition presenting more than 20 international artists, including Filwa Nazer, Rafael Lozano-Hemmer, and Tony Oursler.
This year’s second documentary about the Saudi Arabian journalist, The Dissident focuses more on his life story.
Kingdom of Silence uses the journalist’s life and murder to scrutinize the relationship between Saudi Arabia and the US.
Ed Ruscha, Yael Lipschutz, and Tristan Milanovich say the Saudi government’s violations of human rights and the killing of journalist Jamal Khashoggi prompted their resignations.
Saudi Arabia’s financial prominence in the arts has been under active evaluation in the weeks following journalist Jamal Khashoggi’s disappearance.
The Metropolitan Museum of Art and Brooklyn Museum have chosen to decline funding from the Saudi Misk Institue, and Columbia University has put its event with the Institute on pause.
The Smithsonian, Sotheby’s, and landmark institutions across NYC are under pressure to address their financial connections to the Saudi Arabian government in the wake of the suspected murder of Jamal Khashoggi.
Archaeologists discovered rock art depicting about a dozen life-size dromedaries and equids.
A day after the New York Times identified the buyer of “Salvator Mundi” as an obscure Saudi prince, the Wall Street Journal claims he was merely serving as a proxy for the country’s crown prince.
The robot’s new status raises questions about AI’s future, the treatment of women, and the meaning of citizenship.