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      Building a Home From 100 Miles of Cord

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      Chiharu Shiota, a Berlin-based artist, has conjured a multitude of immigrant stories in “Home Less Home,” her largest museum show in the U.S.The artist Chiharu Shiota has drawn a simple shape in thin air and at monumental scale — a rectangle with a pitched roof, instantly recognizable as the universal symbol of home.This ethereal installation is made of polyester cord — some 21,000 lengths of it, streaming down 23 feet from the ceiling of the ICA Watershed, a massive exhibition space at an active shipyard in East Boston.A rectangular forest of blood-red cords hangs nearly to the floor of this former factory space. Inside, the cords shift to lengths of black that form a dark silhouette of a house.Visible within this mirage-like structure are antique furnishings — a four-poster bed, rocking chair, dinette set, sewing table and chair — with a spectacular flock of paper, some 6,000 sheets, fluttering above the domestic tableau. Shiota’s new commission, titled “Home Less Home,” opened Thursday under the banner of the inaugural citywide Boston Public Art Triennial and will remain on view through Sept. 1.This ethereal installation is made of polyester cord — some 21,000 lengths of it.“The house shape looks like a shadow because home does not exist,” Shiota said in a recent interview at the Watershed, as she reached among the cords to affix the final pieces of paper with a stapler. “Home is like something in your heart, inside,” added the soft-spoken artist, 53, who grew up in Osaka and has lived and worked in Berlin since 1997.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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      Tony Bechara, Painter Who Championed Latino Artists, Dies at 83

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      He turned away from a potential career in the law or international relations to produce abstract paintings, and he headed El Museo del Barrio.Tony Bechara’s parents didn’t believe he could make a living as an artist. So he majored in philosophy and economics in college and earned a master’s degree in international relations. He started law school, too, but in his mid-20s he found his true passion as a painter.Returning to New York from Paris, where he studied history at the Sorbonne, he enrolled in the School of Visual Arts in 1967, where he began painting black-and-white figurative imagery.Animated by the chaos of the city’s streets, he graduated to painting kaleidoscopic grids that he meticulously mapped, and he was embraced by critics and invited to exhibit in museums. He became a patron of the arts and of fledgling Latino artists and, for 15 years, led El Museo del Barrio, a showcase of Puerto Rican art that he expanded to encompass works from all over Latin America.Mr. Bechara died in a Manhattan hospital on April 23, his 83rd birthday. The cause was heart failure, a spokeswoman for El Museo del Barrio said.From 2000 to 2015, he served as chairman of the board of the museum, on Fifth Avenue and 104th Street on the edge of East Harlem, where many newcomers from Puerto Rico originally settled (barrio is Spanish for neighborhood).His mandate was to broaden the museum’s collection and exhibits beyond the Barrio to include art from Latin America and the Caribbean. That expanded purview prompted some local critics to complain that the museum was neglecting its primary focus on Puerto Rican culture.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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      in US Politics

      Casualties in Trump’s war on the arts: the small museums keeping local history alive

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      For the past two years, a small arts non-profit has been telling stories about the communities living alongside the Los Angeles river, one voice at a time.The organization, called Clockshop, has collected the oral histories of nearly 70 local residents, activists and elected officials. Their knowledge is compiled in a vast cultural atlas – which contains videos, an interactive map and a self-guided tour exploring the waterway and its transformation from a home for the Indigenous Tongva people to a popular, rapidly gentrifying urban space.But in April, the future of the ever-growing atlas was thrown in uncertainty, when a three-year federal grant from the Institute of Museum and Library Services (IMLS), the agency that supports libraries, archives and museums, was terminated 17 months early. The grant, originally for $150,000, still had $20,000 left to pay out. “There is no recourse to recover the funds still in the grant project activities,” the organization said in a post on Instagram.Now, executive director Sue Bell Yank says their mission to preserve the stories of residents ousted by gentrification could lead to “erasure of the past, of cultural self-determination, and a lack of understanding about how communities can successfully advocate for the kinds of neighborhoods we deserve”.Clockshop’s post foreshadowed an alarming message that would eventually be delivered to hundreds of other arts and cultural institutions across the US. As the Trump administration directed federal agencies to cancel grants that did not support the president’s new priorities, which focused on funding “projects that reflect the nation’s rich artistic heritage and creativity” and targeted anything broadly deemed “DEI” (diversity, equity and inclusion), millions of dollars dedicated to preserving local history and culture suddenly disappeared.Shortly after IMLS grants were terminated, so too were those awarded by the National Endowment for the Humanities (NEH) and the National Endowment for the Arts (NEA). By Friday 2 May, a spreadsheet created by writer and theater director Annie Doren was being passed around the internet, aiming to catalog every organization that had lost their NEA funding. With more than 500 organizations on the list, the question shifted from who lost their funding to who didn’t.View image in fullscreenWhile organizations of all kinds were impacted, it is the small and midsized institutions that lack endowments, prominent donors, and broad outreach whose futures are particularly in jeopardy. The cuts have affected a broad swath of projects – from a documentary film-maker in Fresno making a film about a woman who has played Harriet Tubman in civil war reenactments for 30 years; to a dance performance about south-east Asian mothers in New York City, to an organization that brings films, book clubs and other cultural events to rural Montana.Rick Noguchi who runs a non-profit called California Humanities, said he has seen the 112 NEH grants it awarded across the state suspended indefinitely by the Trump administration. “There are many newer immigrant communities that don’t have deep donors and struggle with being able to find individual donors that step in to tell their stories.”‘The country is abandoning its citizens’Back in Los Angeles, the cuts have blanketed cultural institutions with feelings of anxiety and urgency. But their leaders are also fighting back, vowing to continue the work of preserving local history in spite of the administration’s threats to revoke non-profit status if they continue to champion DEI programs.The Japanese American National Museum (JANM), an affiliate of the Smithsonian Institution in LA’s Little Tokyo neighborhood that focuses on the history, culture and legacy of Japanese immigrants, initially lost grants that amounted to roughly $1.45m – though some have since been temporarily restored after a court order. Among those cut was a NEH landmarks of American history and culture grant, which funded a workshop helping teachers build a curriculum about the history of Japanese incarceration during the second world war. JANM CEO Ann Burroughs said that the program benefits approximately 20,000 students a year.“It was very much to ensure that the history was never forgotten,” Burroughs said about the museum’s mission and outreach. “It was also to ensure that what happened to Japanese Americans never happened to anybody else.”View image in fullscreenLos Angeles’s One Institute, which houses the largest queer archive in the world, also uses their collection to help educate others on queer history and marginalization. They lost a $15,000 NEA grant to support their upcoming annual festival in October, and now they are scrambling to hold fundraisers to keep the festival on track.Tony Valenzuela, the organization’s executive director, said that their event is important because it covers a gap in education. “Even in liberal states like California, only a fraction of students learn about the contributions of queer people to society,” Valenzuela said. “If the government abandons funding non-profits and other individuals and organizations providing a social good, this country will also be abandoning whole swaths of its citizens who greatly benefit from this work.”Another organization that was hit hard was the Los Angeles Poverty Department (LAPD), which operates the Skid Row History Museum & Archive, located just a few blocks north of the neighborhood in Downtown Los Angeles. They lost four grants administered by IMLS, NEH, and California Humanities, and are unlikely to receive an NEA grant that normally keeps the organization running – a total value of nearly $144,000 dollars, or 22% of the organization’s annual budget.Like Clockshop, the LAPD’s exhibitions, public programs and archives chart the ways Skid Row has been transformed – and nearly erased – due to development and gentrification. “Not everyone sees Skid Row as a community, let alone a thriving arts community,” said Henry Apodaca, LAPD’s media archivist. “This is a critical counter narrative to popular narratives that we’ve all been inundated with when talking about Skid Row.”View image in fullscreenOne of the terminated grants was an IMLS grant for small museums, which was being used to support a project called Welcome to the Covid Hotel. The project, named for the temporary medical treatment centers that popped up in vacant hotels during the pandemic to care for unhoused people, culminated in an exhibition and a series of theatrical performances based on interviews with patients, nurses and social workers.“There’s stories of people coming in blind and getting cataract surgeries,” explains LAPD’s co-founder and artistic director, John Malpede. “Someone with gangrene needed to have his legs amputated, and it saved his life. And most people got and accepted some form of next-step housing.”Malpede’s performance is a creative way for policymakers to notice the Covid Hotels’ impact and potentially make the sites into permanent fixtures. When the grants were canceled, LAPD was still waiting on more than $38,000 to come through: money that was supposed to pay venues, crew and performers for events that took place in April, as well as upcoming performances in May and June, and a forthcoming publication. While LAPD aims to move forward with their plans, they are uncertain on how to fund it.After going public on social media, private donors have since stepped up to help the JANM and Clockshop recoup their losses. LAPD and the One Institute, however, are still looking for support. Without this funding, not only could the non-profits disband, but also the communities that have flourished as a result of their work.As Malpede warns: “It’s only because of the neighborhood standing up and using its own history that it continues to be present.” More

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      Breuer Building Gets Landmark Status Before Sotheby’s Moves In

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      The modernist former home of the Whitney Museum of American Art had its interior designated for protection by the Landmarks Preservation Commission.The modernist Breuer building, formerly home to the Whitney Museum of American Art and purchased by Sotheby’s auction house in 2023, on Tuesday had much of its interior designated as a landmark by the New York City Landmarks Preservation Commission.The designation, which was voted on Tuesday morning, will protect much of the building on Madison Avenue from any changes that had concerned preservationists as the building undergoes a renovation by the Pritzker-winning architects Herzog & de Meuron. The museum’s galleries were not included as part of the designation. The designation protects parts of the lower level facing Madison Avenue, as well as the first-floor lobby, coat check, vestibules and the main stairwell from the lower level through the fifth floor.“We would have preferred the galleries were included in the designation,” said Liz Waytkus, the executive director of Docomomo US, an organization dedicated to preserving modern architecture which filed the request with the Preservation Commission seeking interior landmark status for the Breuer. “But we’ve spoken to Sotheby’s and they have assured us they are treating all gallery surfaces as if they are designated and using a light hand in their restoration.”The 1966 building by Marcel Breuer has become an important symbol of Brutalist architecture, with its concrete grid ceilings and its inverted stepped pyramid exterior.The structure most recently housed the Frick Collection and served as an exhibition space for the Metropolitan Museum of Art’s modern and contemporary collection. The renovated building will contain Sotheby’s sales room, as well as exhibition and dining spaces. Work is expected to be completed by this fall.Herzog & de Meuron — known for projects such as Tate Modern in London, the de Young Museum in San Francisco and the Park Avenue Armory in New York — has made a specialty of adaptive reuse, or transforming existing structures. The firm, based in Basel, Switzerland, is working with PBDW Architects, a New York firm, on the design.“We fully endorse the landmark designation, as reflected in our initial plans for the building,” said Steve Wrightson, Sotheby’s global head of real estate, in a statement. “We look forward to welcoming the public back and honoring the Breuer’s enduring legacy as we usher in a new chapter.” More

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      Met Museum Surrenders Artifacts Thought Looted From Iraq

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      The Manhattan district attorney’s office said the objects had been identified as illicit during an investigation of an art dealer suspected of having trafficked in stolen antiquities.Three ancient artworks that for years had been part of the collection of the Metropolitan Museum of Art and are now thought to have been looted were returned on Monday to the Republic of Iraq, the Met and the Manhattan district attorney’s office said in statements.The artworks were recovered following criminal investigations into looted art, including one into the British antiquities dealer Robin Symes, the district attorney’s office said. Mr. Symes, who died in 2023, was long suspected by investigators to have been a trafficker.The artifacts were returned in an official ceremony at the district attorney’s office in Lower Manhattan that was attended by Met officials and representatives from Iraq.“Through the Museum’s cooperation with the Manhattan DA’s office, and as a result of its investigation into Robin Symes, the museum recently received new information that made it clear that the works should be repatriated, resulting in a constructive resolution,” the Met said in a statement.The artifacts include a Sumerian vessel made of gypsum alabaster dating to around 2600 to 2500 B.C., which passed through Symes’s hands and was given to the museum in 1989 by a private collection; and two Babylonian ceramic sculptures, a head of a male and a head of a female, dating to around 2000 to 1600 B.C.The head of a male was sold by Symes to the Met in 1972; the head of a female was a gift from the same private collection in 1989. All three were seized by the district attorney’s antiquities trafficking unit earlier this year.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 Future of Black History Lives on Donald Trump’s Front Lawn

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      I don’t know why I was surprised when President Trump went after the Smithsonian Institution, in particular the National Museum of African American History and Culture — or as it’s more informally known, the Black Smithsonian. If anything, I should have been surprised he held off for two months. On March 27, he issued “Restoring Truth and Sanity to American History,” an executive order that accused the Smithsonian Institution of having “come under the influence of a divisive, race-centered ideology.” He called out the Black Smithsonian in particular for being subject “to ideological indoctrination or divisive narratives that distort our shared history.” The federal government, he declared, will no longer support historical projects that “degrade shared American values” or “divide Americans based on race.”I think Mr. Trump’s presidency is a national tragedy. But a stopped clock is right twice a day, and I have some sympathy for the concerns he raised about the agenda of much historical thinking these days. Too often it indulges in sloppy and even childish stereotypes, depicting America’s past as one extended hit job.The boldness of the American experiment, the emergence of the Constitution, the evolution of public schooling, the expansion of the right to vote, the rise of the conservationism and the flourishing of our diverse cultural life — reducing all of this to the machinations of a sinister white cabal is, like the 1980s power ballad, seductive but vapid. That white lady at the supermarket with her 6-year-old daughter has organized her life around defending her privilege? I’m not seeing it.President Trump visited the National Museum of African American History in 2017.Doug Mills/The New York TimesI shudder at suggestions that — as a graphic on the Black Smithsonian’s own website put it a few years ago — “objective, rational, linear thinking,” “quantitative emphasis” and “decision-making” are the purview of white culture. I despise equally the idea that Black people are communal, oral, “I’ll get to that tomorrow” sorts who like to circle around the answer rather than actually arrive at it.And I am especially dismayed at how this version of history implies that the most interesting thing about the experience of Black Americans has been their encounter with whiteness. I figured that the president was being typically hyperbolic when he said that institutions like the museum deepen “societal divides and fosters a sense of national shame, disregarding the progress America has made and the ideals that continue to inspire millions around the globe” — I mean, even something as stupid as that guide to whiteness might just be an outlying mistake. But I was wary that a national museum might squander its chance to illuminate complex topics and expand people’s curiosity, instead trying to corral everyone into caricatures and oversimplifications. As I read the executive order, however, it occurred to me that after all these years, I had yet to actually visit the museum. So, on a sunny Friday afternoon, I decided to zip over to the National Mall to take a look. I will not soon forget what I saw.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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      Fenix, a Museum of Migration, Opens in Rotterdam

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      A new institution in the harbor of Rotterdam, the Netherlands, combines art and artifacts to underscore that migrant journeys are part of a universal human experience.More than a century ago, millions of people trying to escape poverty, persecution or war in Europe boarded ships in the harbor of Rotterdam, the Netherlands, for a trans-Atlantic journey to a new life.Today, people can enter a former warehouse there, climb a winding staircase and look out from a cantilevered viewing deck onto the spot where the ships carrying those people once set sail.This is Fenix, an art museum dedicated to the theme of migration that opens to the public on Friday. A once-derelict pier stockroom has been transformed into an expansive white-box art space and is crowned with a polished steel double-helix swirl that adds a distinctive architectural signature to Rotterdam’s skyline.“It’s all about movement,” said Wim Pijbes, the chairman of the foundation that runs the new museum. “It’s not genealogical, it’s not art historical, it’s not documentary. It’s a mix of objects: high art, low art, personal objects, video, film, photography, ceramics. It’s all there, like a symphony.”Unlike other migration museums in New York, London or Paris, which typically narrate specific histories of immigrants and refugees, Fenix takes a different, more wide-ranging, approach.Visitors first encounter two small exhibitions downstairs — one showcasing photojournalistic images and the other filled with thousands of battered suitcases — that underscore the idea that migration is an integral part of a universal human experience. The main exhibition, “All Directions,” installed in a 75,000-square-foot concrete and glass hall upstairs, displays fine art that either directly or obliquely makes reference to that experience.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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      Koyo Kouoh, Prominent Art World Figure, Is Dead at 57

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      She had recently been named to oversee next year’s Venice Biennale. She died just days before she was scheduled to announce its theme and title.Koyo Kouoh in 2023. As the curator and executive director of Zeitz MOCAA, one of Africa’s largest contemporary art museums, she had built a global reputation as a torchbearer for artists of color.Tsele Nthane for The New York TimesKoyo Kouoh, one of the global art world’s most prominent figures, who had been slated to become the first African woman to curate the Venice Biennale, died on Saturday in Switzerland. She was 57.Her death was confirmed by the biennale’s organizers. The announcement did not cite a cause or say where in Switzerland she had died.The biennale said that Ms. Kouoh’s “sudden and untimely” death came just days before she was scheduled to announce the title and theme of next year’s event. The statement added that her death “leaves an immense void in the world of contemporary art.”The Venice Biennale is arguably the art world’s most important event. Staged every two years since 1895, it always includes a large-scale group show, organized by the curator, alongside dozens of national pavilions, organized independently.A spokeswoman for the biennale did not immediately respond to a request for comment on what Ms. Kouoh’s death would mean for next year’s exhibition, which is scheduled to run from May 9 through Nov. 22.As the curator and executive director of Zeitz MOCAA, one of Africa’s largest contemporary art museums, Ms. Kouoh built a global reputation as a torchbearer for artists of color from Africa and elsewhere, although her interests were global in reach. “I’m an international curator,” she said last December in an interview with the The New York Times.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