Museum

Vision & Spirit: African American Art at Gantt Center museum

It’s hard to know whether you’re in an art exhibit or a treasure hunt.

Vision & Spirit: African American Art,” a collection of more than 100 works tracking the black experience from the Underground Railroad to contemporary equality themes, is as remarkable for what it hides as what it shows.

Filling two galleries at the Harvey B. Gantt Center for African-American Art + Culture on South Tryon Street, the exhibition repeatedly startles the visitor into double-takes.

So many pieces contain a subtle subtext, a hidden icon, an odd historical juxtaposition that even the most casual viewers find themselves stirred to amateur detectivedom, drawn deeper into the photos, canvases and stitchings to unlock what lurks within.

Channeling the West African cloth tradition in one of her intriguing quilts, artist Faith Ringgold hides an urgent message around the border that whispers to a runaway slave: “Look for an old farmhouse with

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Indianapolis Museum of Art in Hot Water Over Job Posting



(Newser)

The Indianapolis Museum of Art is looking for a new director. And in a regrettable job posting, it said that person would be working to maintain the museum’s “traditional, core, white art audience” while also attempting to attract a more diverse audience, the New York Times reports. Now, not surprisingly, the museum is apologizing. The current director and chief executive, Charles L. Venable, says the ad was meant to explain that while the museum is working toward more equity and inclusion, its existing audience would not be forgotten. However, “if we were writing this again, with all the feedback we’ve gotten, we wouldn’t write it that way,” he says. Indeed, the wording has been changed to simply, “traditional core art audience.” Newfields, the museum’s campus, also apologized in its own statement, WTHR reports.


“This is a six-page job description, not a single bullet point,”

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German art museum to return oil painting looted by Nazis to its Jewish heirs

  • Jewish historian Max Fischer owned the oil painting by expressionist artist Erich Heckel but lost possession of it due to Nazi persecution when he immigrated to the United States

AP

UPDATED ON FEB 03, 2021 09:13 AM IST

A commission in Germany has ruled that a painting by expressionist Erich Heckel that is in a German art museum was likely unlawfully obtained under the Nazis and should be returned to the heirs of a Jewish historian who once owned it, officials said Tuesday.

Heckel’s “Geschwister,” or “Siblings,” was owned by Jewish historian Max Fischer until 1934, the year before he fled Germany to avoid Nazi persecution, according to Baden-Wuerttemberg’s state commission on Nazi looted art.

The 1913 oil painting ended up back with Heckel, and the artist donated it to the Kunsthalle Karlsruhe museum in 1967.

The state commission said it could not be determined when and under which circumstances

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How an artist’s lost prison painting found its way to a museum | Nation

LOS ANGELES – Fulton Leroy Washington knows, all too well, the rules around making art in prison, those strict regulations for inmates working in the well-guarded hobby shop: no sharp-edged tools, no oil paints with chemicals that could be used for tattoos and no canvases larger than the storage locker lest the works get stolen or vandalized at night.

Washington, who goes by Mr. Wash, spent more than 20 years behind bars for three nonviolent drug offenses he said he did not commit. Over those two dark decades in various correctional institutions, Mr. Wash painted photo-realistic portraits of other inmates — up to 75 works a year, he said, factoring in his other drawings and tattoo designs — and gained attention in the media along the way.

The Los Angeles native’s story is well known in art circles: He was arrested in 1996, convicted in 1997 and, because of prior

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