A new exhibition catalogue illustrates the artist’s dedication to humanity, managing a tender balance between self-expression and true global consciousness.
The artist discusses the controversial incident three years ago in a new essay that explores the conversations prompted with the Walker Art Center.
The museum announced it would stop working with the MPD until it “implements meaningful change,” including “demilitarizing training programs, holding officers accountable for the use of excessive force, and treating communities of color with dignity and respect.”
“I want to take the stories that children really do want many people to hear, and become almost a vehicle that helps these stories be more accessible,” says artist Essma Imady.
Adiós Utopia memorializes the driving utopian conceit of contemporary Cuban art, its galleries a testament to the credulity of this dream.
Arranged thematically, Adiós Utopia demonstrates ways Cuban artists have responded to their social context, all while revealing a dialogue with art happening around the world.
Dakota Elders have decided the fate of Sam Durant’s “Scaffold,” which is legally in their possession.
Though he has both claimed to have and denied having Cherokee heritage, institutions often present Durham as a Native American artist.
The outcry over Sam Durant’s sculpture at the Walker Art Center has provoked reflections on past memorials for the US–Dakota War, and how Dakota Nation voices continue to be ignored.
In responding to the “Scaffold” controversy in Minneapolis, some art world onlookers have painted the white male artist as the victim.
Sam Durant’s sculpture has been dismantled, but its materials await their fate while members of the Dakota Nation seek more input regarding the best way to dispose of them.
On Friday, Dakota elders led a ceremony that included a blessing for construction workers who then started to take apart Sam Durant’s controversial installation “Scaffold.”