“Art is so often only experienced through looking,” artist Caitlin Rose Sweet explained to The Huffington Post. “It’s a short pathway from the eyes to the brain. I want the whole body involved.”
In a case of voter fraud, an investigation revealed that the party in power had won fifty votes from the residents of a single apartment.
A group of activists reproduced the apartment in a downtown square and invited 50 people inside.
The action took just one part of the case, literally brought it into three dimensions, and showed the absurdity that this could ever be legitimate.
“What Is Missing?” is a multi-sited memorial created by Maya Lin to raise awareness through science-based artworks about the present sixth mass extinction of species, connect this loss of species to habitat degradation and loss, and emphasize that by protecting and restoring habitat, we can both reduce carbon emissions and protect species.
When Europeans of the 18th and 19th centuries established their grandest museums, each building meant to unite the world’s cultural heritage under a single roof, they had no doubt as to who should explain it all: themselves. They took a Eurocentric view, categorizing the spoils of colonial enterprise by nation and region, splitting art from craft, and nature from culture.
“Everything is art. Everything is politics.” Globally renowned artist Ai Weiwei (Chinese, b. 1957) is celebrated as a disruptor of artistic canons and a champion of free expression. In his work—ranging across performance, photography, sculpture, video, and installation—he deploys humor and provocation, calling upon his viewers to examine history, society, and culture.
Maryland Hall, in partnership with the Banneker Douglass Museum and Maryland Commission on African American History and Culture, invited Maryland-based Black artists, whose work encapsulates activism and social justice and using the creative process to educate their audiences about diversity, equity and inclusion to send proposals to take one of six 5 ft.
Caucus-goers in Des Moines will arrive to a disturbing sight on Monday, with dozens of chain-link cages appearing to hold migrant children cropping up across the city overnight.
This is the sixth piece of the series Tatlin’s Whisper which examines the relationship between apathy and anaesthetization of the images in the mass media. This series intends to activate images, well-known because of having been repeatedly seen in the press, but are here decontextualized from the original event that gave way to the news and staged as realistically as possible in an art institution.
Originally a project of San Francisco-based art and design studio Rebar, Park(ing) Day participants from Tucson to Tehran set up temporary installations ranging from simple unrolled sod to art galleries and even free health clinics.
ONGOING ORGANIZATION:
CALLED: Iranti [pronounced írantì] is the Yoruba word for ‘memory’. Largely found in South West Nigeria and parts of Benin Republic, the Yoruba people consider memory a prized form of intelligence which determines how often one remembers what they see and hear.
An artist in Culiacan, Mexico—which has the highest rate of gun deaths in the country—has found a way to transform the agents of death into seeds of life.
In 2008, artist Pedro Reyes started running television ads urging locals to exchange their guns for food coupons to be redeemed at local stores.
The campaign—Palas Por Pistolas, or “Shovels for Guns"—collected 1,527 guns, which Reyes publicly smashed with a steamroller.
IT’S 7 AM, and a thin layer of mist still hovers over the harbor in Talamone as fisherman Paolo Fanciulli stretches out his nets. Pulling them out of a plastic tub, he examines them section by section, setting the ripped ones aside to be repaired. It’s a time-consuming process—one that’s occupied men from this tiny village on the coast of Tuscany for centuries.
Birds Watching I, 2018 was created for Storm King Art Center's Indicators: Artists on Climate Change, in partnership with NRDC, which ran from May–Nov 2018, and featured 100 U.S. climate-threatened species derived from Audubon's first report. That work was reinstalled as a public sculpture in Chicago on the elevated 606 Bloomingdale Trail between St. Louis Ave. and Kimball Ave. and is fully-accessible via the Spaulding Ave. ramp.
UNLESS by Stephanie Cardon is a vibrant floor-to-ceiling installation that fills the main entryway of Boston’s landmark Prudential Center. Commissioned by Boston Properties and curated and produced by Now + There, UNLESS explores sustainability, climate justice, and how taking action together can create positive change.
The pro-democracy protests in Hong Kong have a new mascot: a roughly 12-foot-high figure of wood blocks holding a bright yellow umbrella in its outstretched right hand. The students call it Umbrella Man.
Umbrellas emerged as a symbol of the demonstrations after dozens of students wielded them on the night of Sept. 28 to fend off pepper spray as they jostled with the police.
Anonymous urban artists set up art installations, large nest eggs, at several locations in Skopje, wanting to alarm the growing number of trees in the city.
In the nest read a message "You cut all the trees, where do we make nests? Birds".
At Rio+20 we present a bread tank with a garden inside to underline the realistic possibility of eradicating hunger and extreme poverty by redirecting military spending.
Two children stand back-to-back, but they are facing two very different Chicagos. One child blows bubbles in a park under blue skies. The other wears a gas mask against a backdrop of scrap metal and billowing smokestacks.
For more than 30 years, the Guerrilla Girls have travelled the world exposing sexism and inequality in the art industry, and this week they proved Hong Kong was no exception.
Three members of the anonymous feminist collective—calling themselves Frida Kahlo, Käthe Kollwitz and Zubeida Agha—spoke at the University of Hong Kong on Monday, dressed in their signature black outfits and gorilla masks.
On Nov. 6, the day after the presidential election, the artist Hank Willis Thomas was at his studio in Brooklyn. His production assistants were poring over tables strewed with blobby red white and blue silk-screen prints of the words “Fragile/ Democracy / Handle With Care” in capital letters.
In 2017, the political party Ahora Buenos Aires (Now Buenos Aires) was running in the legislative election for the first time. It is not easy being a small left-wing party in the City of Buenos Aires, therefore imagination is an essential part of a campaign if you want to get the attention of the media and voters.