#art-criticism

#art-criticism

Jeff Koons's "Banality" sculptures of the late 1980s are anything but ordinary: few can easily forget the sight of the Pink Panther embracing a partially naked woman, for one. But there's nothing quite so out of the ordinary about the artist's recent creations such as his 2016-21 sculpture Aphrodite, an eight-and-half-foot-tall nude that made its public debut at Gagosian gallery in New York last week.

Stellweg was a pivotal figure in the Latin American art world, working mainly between Mexico City and New York. The founder and editor-in-chief of the bilingual art magazine Artes Visuales, she went on to become an early promoter of Latin American artists including Liliana Porter, Ana Mendieta and Luis Camnitzer through her New York galleries Stellweg-Seguy Gallery and Carla Stellweg Latin American & Contemporary Art.

In 2002, Thelma Golden curated a show at the Studio Museum in Harlem titled "Black Romantic: The Figurative Impulse in Contemporary African-American Art." It was a survey of Black artists who were interested in representing the Black figure in a way that refuted narratives that made exotic caricatures of Black people. These were artists whose work was popular among Black audiences but largely shut out of white, mainstream art circles.

THE PHOTOGRAPH SHOWS a Black man in rags and fetters being led through the street by a white man robed in white, trailed by a flock of spectators. The year was 1968, the setting an arts festival in Amalfi called Arte povera più azioni povere (Poor Art Plus Poor Actions); the scene was part of a play, L'uomo ammaestrato (The Trained Man), created by the artist Michelangelo Pistoletto and his theater collective, Lo Zoo.

The Danish agency for palaces and culture is reportedly removing the 4x6 metre Den Store Havfrue (the Big Mermaid) because it does not align with the cultural heritage of the 1910 landmark.

Michael Daley and his group ArtWatch UK allege that the National Gallery hides a fake or modern copy of Rubens' legendary work, 'Samson and Delilah.'

KIRAC has developed a reputation for searing, divisive critique, often delivered directly to their subjects in confrontational yet open dialogues.

"When I finished the last page, I was hungry for more."

Mr. Grassi was a rare freelance restorer, deeply rooted in the traditions of Florentine art and adept in both restoration and art criticism.