Roy Lichtenstein, a luminary of the Pop Art movement alongside Andy Warhol, would have celebrated his hundredth birthday last October. His legacy reverberates through the annals of 20th-century art history, leaving a lasting mark on the creative landscape. - New York Observer
The artists demanded control of their works' presentation and that the Contemporary Jewish Museum both boycott Israel and divest from companies doing business there; they withdrew when the museum said it couldn't comply. What the museum did instead is either strikingly gracious or brilliantly passive-aggressive (or both). - The New York Times
A bushfire that started in Jerusalem's Valley of the Cross spread quickly to the museum — home to, among other archaeological riches, the Dead Sea Scrolls — damaging the roof of the youth wing. Firefighters stopped the blaze before it reached the building's interior. Both natural causes and possible arson are being investigated. - Artnet
“We don’t have a problem with anyone taking inspiration from Ansel’s photography,” said the Adams estate. “But we strenuously object to the unauthorized use of his name to sell products of any kind, including digital products, and this includes AI-generated output. - The Verge
The work was last seen in public in 1952 when Joan Llonch Salas leant it to a group exhibition at the Barcelona gallery Gaspar, as recorded by another label on the back of the work. - Artnet
It is a symptom of the fact that the whole system of art consumption and display otherwise feels itself deeply vulnerable to all kinds of other criticisms about its entanglement with wealth and power, in very fraught times. - Artnet
What he plans to do looks a lot like what he did with Little Island in New York City's Hudson River — create a rising-and-falling landscaped trail with platforms at varying heights that will host music and art events. At least with this project, called Soundscape, the island is already there. - Dezeen
That's the term SFMOMA director Christopher Bedford uses; Hirshhorn Museum director Melissa Chiu calls it "radical accessibility." Ted Loos reports on how those two institutions and Atlanta's High Museum are putting the idea into practice. - The New York Times
"The activist targeted (Monet's) 'Poppy Field' ..., affixing a sticker that covered about half the painting with an apocalyptic vision of the same scene. The group said it’s supposed to show what the field would look like in 2100, 'ravaged by flames and drought,' if more action isn’t taken against climate change." - AP
The project is part of a global trend of repurposing old roads and railways into places for pedestrians and wildlife. While the skywalk won’t fully open until at least the 2030s, the expressway was briefly closed off in May to give residents a taste of what it’s like to walk among skyscrapers. - Bloomberg
"The bikes — completely white, including tires, spokes and pedals — serve as stark memorials, both an alert to passers-by that a cyclist was killed and a reminder of the dangerous conditions cyclists face.” - The New York Times
One artist lost hundreds of paintings in a loft fire before the city made laws about loft safety; another says it’s not easy because “there is no super” when something goes wrong. But others say their lofts are like a “parallel universe” compared to the rampant greed they see beyond their window. - The Guardian (UK)
After being kicked out when he was 15 for saying he wanted to be an artist, “the young Aboudia pressed on and enrolled in art school. Due to a lack of financial support, he slept in his classroom after the other students went home for the day.” - BBC
Take this chance: Hugo McCloud "was eating dinner with a friend at Choice Market ... when Lauren Kelly, on her way to becoming a partner at her father Sean Kelly’s gallery, noticed McCloud’s paint-splattered pants and asked if he was an artist.” - The New York Times
Maria Balshaw, director since 2017: “I was thrilled, and then I was scared, and I think you stay scared. I still come into work feeling terrified. It takes you five or six years just to understand the institution.” - The Observer (UK)
