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      Art and the Power to Heal

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      Artists and community organizations around the world are increasingly turning to art to create positive social change.Using her arms as a makeshift clapboard, a Sudanese woman in a black hijab and black-and-white caftan clapped her hands together, signaling the beginning of the rehearsal. The other amateur Thespians, wearing comic stick-on mustaches, moved to their marks, improvising a scene in a women’s beauty salon where one patron’s hair is accidentally dyed blue.As the scene ended, all the women were in hysterics, ribbing each other over how they could better play their parts next time. Scenes like this are common at the Kuluhenna Creative Workshop, which is held at a community clubhouse on the outskirts of this Yorkshire city. The workshop is open to all local women, but with a focus on immigrant communities, including refugees and asylum seekers.The 90-minute class, which the Mafwa Theater has held since 2019, is a happy space. Each week, some 15 women gather to tell stories, dance, act and gossip. They are provided with bus passes, a play area for their young children and an on-site health worker in case any of the women want to talk.Eman Elsayed, a mother of three originally from Egypt, said before she joined the workshop in 2020, she was “depressed, isolated and fed up” with her life in Leeds. But eventually, especially after joining Mafwa Theater’s associate artists program in 2021, she felt her life change.“Art, it’s a magic wand,” said Elsayed, who now has a paid job doing community outreach for the program. “But you need to believe, and you need to take the time to see what it will do.”Mafwa’s project is just one example of a larger trend — as more and more groups and individuals worldwide are using the arts to empower, unite and even help heal people who have suffered trauma, from war and natural disaster, or discrimination, poverty and displacement.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Museum Revolution Gains Momentum

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      Faced with dwindling attendance and changing demographics, museum directors are shifting their approach, with an eye toward “radical hospitality.”When Melissa Chiu began her tenure as the director of the Hirshhorn Museum and Sculpture Garden 10 years ago, she had a stray thought about the institution’s location, on the National Mall, and its appearance, a doughnut-shaped concrete structure by the architect Gordon Bunshaft with a certain resemblance to a spaceship.“Maybe some of our visitors thought it was the Air and Space Museum,” she said of the popular institution next door, which, like the Hirshhorn, is part of the Smithsonian and which was getting more than six million visitors a year at the time. “So, OK,” she said, “that’s not a bad thing.”Chiu — who is appearing this week at the Art for Tomorrow conference in Venice with the artist and writer John Akomfrah to discuss how artists and museums can work together to address social, political and ecological issues — did not wait around for confusion to boost attendance at her museum. (The annual conference was founded by The New York Times, and is convened by the Democracy & Culture Foundation, with panels moderated by Times journalists.)Melissa Chiu, the director of the Hirshhorn, in front of Torkwase Dyson’s “Bird and Lava #04” at the museum. Her mantra for the museum? “Radical accessibility.”Lexey Swall for The New York TimesThe number of people visiting the Hirshhorn has increased dramatically since she started in 2014, when the museum received 552,000 visitors. In 2018 and 2019 that figure was up more than 50 percent, and even in the post-lockdown phase of the pandemic, a time when many museums have faced a slump in visitors, the numbers are still well above that decade-old baseline.The issue of attendance has been a focus of museums large and small across the country lately, as tourism has shifted, interest on the part of younger people has waned in some places and regional demographics have changed. Museums have taken various steps to manage the challenge: featuring newer and sometimes lesser-known artists, catering more to local audiences, and adding technological enhancements to attract nontraditional visitors.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Philadelphia’s University of the Arts Announces Sudden Closing

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      The institution’s financial woes were widely known, but the announcement surprised students and faculty members.The nearly 150-year-old University of the Arts in Philadelphia will close its doors June 7. Many of its 1,149 students and about 700 faculty and staff members got the news from an article in the Philadelphia Inquirer on Friday or on social media, only later getting official word from the school.“The situation came to light very suddenly,” an announcement on its website said. It noted that “UArts has been in a fragile financial state, with many years of declining enrollments, declining revenues and increasing expenses.”Enrollment is down from 2,038 in 2013. In an interview with the Inquirer, the institution’s president, Kerry Walk, said that revenue, including grants and gifts, failed to arrive in time to bolster the school’s finances. The Middle States Commission on Higher Education, which accredited the institution, indicated on Friday that it had revoked the University’s accreditation immediately, leaving no option for the school but to close. Town halls are planned on Monday.“At 2:47 p.m. on Friday I got an email asking me to apply for graduation, and at 6:03 the Inquirer posted the story that my school was closing,” Natalie DeFruscio, an illustration major who first took classes there in the sixth grade and would have started her senior year in the fall, told The New York Times. “If you spent five minutes there, you could tell it was oozing with talented students. And there were amazing professors I adore who were also blindsided by this,” she said.The closing was the result of a mix of cash flow constraints that are typical of schools like UArts, which depend on tuition dollars. In addition, UArts faced significant unanticipated costs, including major infrastructure repairs. The escalation of the costs significantly increased and could not be covered by revenue, according to a statement from the board of trustees on Sunday. “Despite our best efforts, we could not ultimately identify a viable path for the institution to remain open and in the service of its mission,” the statement said.The email on Friday, from Walk, who had been in the position less than a year, and Judson Aaron, chair of the board of trustees, pledged to assist students in transferring to area institutions. The school did not make its leadership available for interviews.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Cleveland Museum of Art to Return a Rare Ancient Icon to Libya

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      A 2,200-year-old sculpture of a bearded man carved from basalt, unearthed in the 1930s, is believed to have been stolen in the early 1940s.While excavating an ancient Greek palace in eastern Libya in the 1930s, an archaeologist dug up a large earthen storage jar, looked inside and spotted something unexpected — a 2,200-year-old sculpture of a bearded man carved from basalt, a dark volcanic stone.The two-foot-tall antiquity, most likely chiseled during ancient Egypt’s Ptolemaic Dynasty, was a rare find. Known as a striding male figure, it is one of only 33 statues like it known to exist, Egyptologists say.But it wasn’t long before thieves got ahold of the bearded figure and took it on an illicit odyssey that brought it, in 1991, to the Cleveland Museum of Art.On Wednesday, after curators had reviewed abundant proof that the item was stolen from Libya, including photos of it on display in the 1940s at a small museum near its discovery site, the museum agreed to transfer ownership to Libyan officials.“When confronting a situation like this we look at all the material and try to come to an agreement that is beneficial to all parties,” said Seth Pevnick, curator of Greek and Roman art at the Cleveland museum.“It’s less about ownership and more about access” to the object, he said, adding that the museum is hoping to display it on loan for five more years.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Sanford L. Smith, Creator of Prestigious Art Fairs, Dies at 84

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      Over four decades, he produced more than 150 events. Some dealers reported selling more in a weekend at a Smith fair than in a year in their galleries.Sanford L. Smith, an art lover and entrepreneur who created some of New York’s most prestigious art and design fairs, generating millions of dollars in sales and drawing attention to previously overlooked areas of art, died on Saturday at a senior living facility in Manhattan. He was 84.The cause was congestive heart failure, his wife, Jill Bokor, said.Mr. Smith didn’t invent the art fair, but he made his events essential stops for both buyers and sellers. Owners of some Lower Manhattan galleries would spend tens of thousands of dollars to move their wares a few miles north to the Park Avenue Armory, where many of Mr. Smith’s shows were held.Evan Snyderman, an owner of R & Company, a TriBeCa design gallery, said that at Salon Art + Design, one of Mr. Smith’s fairs, “we always reconnect with clients that we don’t see in other places — including New Yorkers who never come downtown.”Some dealers reported selling more art in a long weekend at a Sanford Smith fair than in a whole year at their own galleries.During his years in what he called “show business,” Mr. Smith ran more than 150 fairs, including the Fall Antiques Show, Modernism and the Outsider Art Fair. They were popular (in several cases attracting some 10,000 visitors over a three- or four-day weekend) as well as critical successes. The Times called his 2012 Salon “a museum in the making.” Asked to describe his career in a 2022 interview for this obituary, Mr. Smith said, “I filled holes.” What he meant was that he found gaps in between what other art fairs offered, and created new events to meet those needs. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Kehinde Wiley Denies Accusation of Sexual Assault by Artist

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      After Joseph Awuah-Darko accused Mr. Wiley of sexually assaulting him in Ghana, Mr. Wiley denied the claims, calling them “not true and an affront to all victims of sexual abuse.”After an artist accused the painter Kehinde Wiley of sexual assault in an Instagram post on Sunday, Mr. Wiley denied the allegations, saying on his own Instagram account that “someone I had a brief, consensual relationship with almost three years ago is now making a false accusation about our time together.”“These claims are not true and are an affront to all victims of sexual abuse,” Mr. Wiley added.Mr. Wiley, who was born in Los Angeles, is one of the best known painters in the United States, and is famous for his 2018 portrait of President Barack Obama.On Sunday, Joseph Awuah-Darko, a British-born Ghanaian artist and the founder of the Noldor Artist Residency in Ghana, said in a lengthy Instagram post that on June 9, 2021, Mr. Wiley assaulted him twice during and after a dinner in Ghana that was held in the famed artist’s honor. In the first incident, Mr. Awuah-Darko said that he had been directing Mr. Wiley to a washroom when the star suddenly grabbed his buttocks.Later that evening, Mr. Awuah-Darko said, a second assault occurred that was “much more severe and violent.” Mr. Awuah-Darko did not give further details of that incident on Instagram, but in a telephone interview, he said that a sexual encounter began consensually, but that it then moved to a bedroom, where he says that Mr. Wiley forced himself on him after Mr. Awuah-Darko had said he did not want to go further.Mr. Awuah-Darko showed The New York Times text exchanges he said he had with Mr. Wiley from after their encounter, in which he repeatedly told Mr. Wiley that he was missing him and said he wanted to meet again. Mr. Awuah-Darko said that he had initially convinced himself that his encounters with Mr. Wiley had been loving. It was only in the fall of 2023, after therapy, that he admitted to himself that the incidents had been assaults and told a friend what had happened.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Dancing Past the Venus de Milo

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      I fell in love with the Louvre one morning while doing disco moves to Michael Jackson’s “Don’t Stop ’Til You Get Enough” in the Salle des Cariatides.The museum, a former medieval fortress and then royal palace, had not yet opened, and I was following instructions to catwalk and hip bump and point in the grand room where Louis XIV once held plays and balls.The sun cast warm light through long windows, striping the pink-and-white checkered floor and bathing the marble arms, heads and wings of the ancient Grecian statues around me.“Point, and point, and point,” shouted Salim Bagayoko, a dance instructor. So I struck my best John Travolta poses and pointed around the room, my eyes landing on the delicate sandaled foot of Artemus, the wings of a Niobid and the stone penis of Apollo.The woman beside me caught my eye. We giggled.Over the years, I have felt many things in the world’s most-visited, and arguably most-famous, museum — irritation, exhaustion and some wonder, too.This time, I felt joy.The classes are part of an effort by museums and galleries across France to put on Olympics-themed shows as Paris prepares to host the Olympic Games.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Mystery of Mona Lisa’s Location May Be Solved

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      A mash-up of geology and art history has identified a likely setting for one of the world’s most famous paintings.She’s been smeared with cake and doused with acid. Vigilantes have stolen her, and protesters have defaced her. She’s been lasered and prodded, displayed for the masses, and relegated to her own basement gallery. More recently, thousands urged billionaire Jeff Bezos to buy her, and then eat her.There is no bottom, it seems, to the mysteries of the Mona Lisa, the Leonardo da Vinci painting that has captivated art lovers, culture vultures and the rest of us for centuries. Who is she? (Most likely Lisa Gherardini, the wife of an Italian nobleman.) Is she smiling? (The short answer — kind of.) Did da Vinci originally intend to paint her differently, with her hair clipped or in a nursing gown?While much about the art world’s most enigmatic subject has been relegated to the realm of the unknowable, now, in a strange crossover of art and geology, there may be one less mystery: where she was sitting when da Vinci painted her.According to Ann Pizzorusso, a geologist and Renaissance-art scholar, da Vinci’s subject is sitting in Lecco, Italy, an idyllic town near the banks of Lake Como. The conclusion, Pizzorusso said, is obvious — she figured it out years ago, but never realized its significance.“I saw the topography near Lecco and realized this was the location,” she said.The nondescript background has some important features; among them, a medieval bridge that most scholars have held as the key to da Vinci’s setting. But Pizzorusso said it is rather the shape of the lake and the gray-white limestone that betrays Lecco as the painting’s spiritual home.“A bridge is fungible,” said Pizzorusso. “You have to combine a bridge with a place that Leonardo was at, and the geology.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More