Guggenheim Curators Rise Up in Protest, Met Breuer Fades Away, and More: Morning Links from June 23, 2020

Guggenheim Curators Rise Up in Protest, Met Breuer Fades Away, and More: Morning Links from June 23, 2020

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News

A letter signed “The Curatorial Department” was sent to the heads of the Guggenheim Museum in protest of what it describes as “an inequitable work environment that enables racism, white supremacy, and other discriminatory practices.” [The New York Times]

With makeshift paintings on the plywood used to board up luxury stores, “SoHo briefly returns to its pre-gentrification past.” [The New Yorker]

Setting his sights on civic paintings completed in England in the aftermath of World War I, David Wearing writes, “The imperialist murals in Britain’s Foreign Office represent a legacy that must be dismantled.” [The Guardian]

The Theodore Roosevelt statue slated to be removed from its perch in front of New York’s American Natural History Museum has a complex history. [ARTnews]

History

Taking the Works Progress Administration’s ’30s-era Federal Art Project as a focus, Vox spoke to art historian Jody Patterson about echoes extending from the past to the present. [Vox]

A botched restoration job relating to a painting by the Baroque artist Bartolomé Esteban Murillo led to calls for legislation against delicate artworks falling into the wrong hands. [ARTnews]

Misc.

The Met Breuer (and its short-lived Gerhard Richter exhibition) will not reopen as such, as plans go forward for the Marcel Breuer–designed building to change hands and become a temporary home for the Frick Collection. [Artnet News]

A digital exhibition arranged by Jack Shainman Gallery focuses on painter Barkley L. Hendricks’s love of basketball. [The New York Times]

Tennis star Andy Murray tried his hand as a painter during the pandemic. “I’m not an artist,” he said, “but I love art.” [Tennis.com]

Amy Wilson, an artist based in Jersey City, is sending artworks through the mail to buyers for $20. As the coronavirus crisis intensified, “galleries were going online, but Wilson’s art is meant to be tactile, held, and pondered.” [The Philadelphia Inquirer]

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