“The work is a commentary on the age I have lived in. I am a documentarian, recording the critical moments of my life and those of society.”
A stark monologue examines why there has been so little outrage about the human rights violations in their country. An actress states, “Belarus is not sexy. Sexy countries have oil and gas.”
Part of the history of the Tibor de Nagy gallery is embedded in the camaraderie that grew within a community of artists, poets, and writers.
Discussing his early years with me, Rodríguez’s narrative was laced with the realities of the challenges he faced as a person of color.
The attack against “Degenerate Art” struck free thought and artistic expression at its core.
Her diaristic approach to personal history such as a failed marriage or the death of a loved one are what Olivieri called, “emotional hurricanes that are fodder for my work.”
Lee’s film yields a “complex and multilayered” account which she hopes will instruct her daughter, and future generations of girls, about the struggle that preceded them.
Recently, the New York Times featured an article about the convergence of big dollars and art fairs. It questioned the reality of a collector—of modest means—finding first-rate works.
“Once you are involved in making art, everything seems secondary.”
One of the top takeaways from the documentary for the general public is the startling information that there are approximately 84,000 chemicals being used commercially in the country.