“Life doesn’t imitate art, it imitates bad television.” ~
Homeless Sculpture Installed in Former Home of Iconic Mural. A seven-foot-tall sculpture of a homeless man was unveiled Monday in the courtyard of the former Santa Monica bank building once graced by the iconic mural “Pleasures Along the Beach.”
“A society erects statues of those who embody the values it venerates. That’s why statues of great historical figures who represent the best of our culture when it was healthy are under attack (e.g., Thomas Jefferson, George Washington) now that it is sick with moonbattery. New statues will appear that reflect what we believe in currently: irresponsibility, self-imposed victimhood, self-indulgence, uselessness, dysfunction, psychosis.” ~ David Blount
Baltimore Museum of Art will only buy women’s art in 2020. The Baltimore Museum of Art (BMA) has unveiled plans that it will only buy art by women next year. Right now, only four percent of the museum’s collection is by female artists.
Prof asks teachers to combat ‘whiteness’ in art education as form of ‘reparation’. Courtni Wolfgang, an associate professor at Virginia Commonwealth University (VCU), recently wrote an article titled “The White Supremacy of Art Education in the United States: My Complicity and Path Toward Reparation Pedagogy,” published in the Journal of Cultural Research in Art Education.
Mona Lisa should be ‘taken down,’ New York Times art critic writes, sparking mockery. An art critic for The New York Times argued on Wednesday that “it’s time to take down” the iconic Mona Lisa portrait from the Louvre Museum in Paris. The Louvre is being held hostage by the Kim Kardashian of 16th-century Italian portraiture.”
The move to cancel Gauguin could kill off Western culture. At a current Paul Gauguin exhibition at London’s National Gallery, visitors are warned that the famous French painter had sexual relationships with young girls, including two with whom he fathered children.
Renoir’s Problem Nudes. The art historian Martha Lucynotes that, “in contemporary discourse,” the name Renoir has “come to stand for ‘sexist male artist.’ ” Renoir took such presumptuous, slavering joy in looking at naked women—who in his paintings were always creamy or biscuit white, often with strawberry accents, and ideally blond—that, Lucy goes on to argue, the tactility of the later nudes, with brushstrokes like roving fingers, unsettles any kind of gaze, including the male.