Happy Friday, and welcome to another edition of the public art news roundup.
Although I was out of the country and partially off the grid this week, I still heard all about the Clinton-de Blasio doozy of a dumb joke right before the New York Primary. Another last-minute gaffe from the candidate who brought us the Reagans’ “national conversation” on HIV/AIDS days before Super Tuesday II. It was no botched News interview, but still, not a good look. Anyway, that was pretty much my dose of current affairs over the past week, which I am delighted to report I spent mostly on a beach, without cell service, attempting to will my sunburn into a suntan.
Now to the roundup, with some rollover from last week’s abridged one.
Hyperallergic called Sweden’s public telephone number and spoke with a couple of relatively unenthusiastic Swedes.
The Albright-Knox Art Gallery in Buffalo, N.Y. will offer free admission from April 17 to 23.
The Miami New Times had this look at the Miami line, from creation to burn out.
A temporary sculpture called “76 Trombones” is slated to rotate out of its installation site in Mason City, Iowa, and residents are fundraising to extend its stay.
Rainbow origami street art, yes please.
The Torlonia family in Italy reached an agreement with the Italian government to open its collection of hundreds of Greek and Roman statues to the public. The statues have sat behind closed doors in Torlonia palaces for decades.
My update in the LIC Post on the installation of “Sunbather,” the pink sculpture that sparked an uproar over New York City’s Percent for Art process.
London will get its own all-night public art festival this summer.
And Los Angeles will get its own public art biennial.
The Cause Collective wants to take the “Truth Booth” to all 50 states ahead of the presidential election. The 14-foot inflatable recording booth will continue to collect peoples’ responses to the phrase “the truth is…” ultimately culminating in a documentary art project. They’ve launched a Kickstarter for the project. Artist Hank Willis Thomas told Art News:
In political seasons, truth is a very contested domain. And I believe that there are multiple truths existing at all times. So how do we start to find space for acknowledging that there could be different perspectives on the same issue?
Featured Image: “The Truth Is I See You,” Hank Willis Thomas. James Ewing / The Cause Collective. Source: The New Yorker