Artists and cultural workers are withdrawing their work from the Zabludowicz Collection “in solidarity with Palestinian liberation.”
Created nearly 200 years ago for the artist’s unpublished The Great Picture Book of Everything, the works will go on view at the British Museum.
A corrective to the sculptor’s self-aggrandizing, The Making of Rodin draws attention to the hidden figures who made his work possible.
Curiously, Dubuffet’s anti-hierarchical approach to art did not translate to similar views on society.
The larger-than-life statue shows the late princess surrounded by three children.
For the Montserrat-born artist, seeds are both a metaphor for and a physical continuation of the Afro-Caribbean diaspora.
Adams’s weavings are the kind that demand to be stood directly in front of, for you to hunker down on your knees, or crane your neck at all angles.
Particularly well incorporated into the city’s everyday, the biennial’s latest edition attempts to grapple with Liverpool’s colonial past.
During the two-day protests, activists explained that they “won’t stand by and let the Science Museum green-wash Shell’s reputation.”
Wiley’s stained glass panels swap out the religious figures for contemporary Black subjects.
Inspired by the farmers’ protests Rafael Pérez Evans witnessed as a child in Spain, the works in Handful draw attention to the deliberate wedges driven between producer and consumer.
The painting is the first artwork to be allocated to multiple museums under a British law.