The University of Kentucky has unveiled a new site-specific public artwork by Philadelphia artist Karyn Olivier, commissioned in response to a heated controversy around a fresco that students said was traumatizing, creating a model for balancing conflict and tensions around campus art.
Remembering Robert S. Rubin and his defense of The Brooklyn Museum in a highly publicized controversy in which he went head-to-head with then-mayor Rudy Giuliani who threatened the museum’s funding if a piece was not removed from a 1999 exhibition.
Following a censorship incident last month, artists at Artspace Jackson Flats issued an open call for submissions for a new show, CENSORED; Artists Respond, that addresses contemporary, often negative reactions to the female body, particularly the nude in art.
For the latest edition of our Arts Advocacy Podcast, we talked to the bi-coastal artist and photographer Savannah Spirit. Her sun-drenched nude self portraits are repeatedly flagged and removed as ‘obscene’ or ‘inappropriate’ by Instagram and Facebook. This interview discusses her frustration with social media and its necessity to artists working today.
Artspace, the self-described “non-profit real estate developer for the arts,” creates affordable live-work spaces in a world where such spaces are rapidly disappearing. However, on more than one occasion, Artspace has censored works exhibited by residents on their premises. The most recent incident occurred in East Minneapolis.
In a landmark case heard in Federal district court in Brooklyn, a judge has ruled that a New York real estate developer must pay millions in damages to a group of 21 graffiti artists to compensate for destroying their work under the Visual Artists Rights Act of 1990 (VARA).
A sneaker and apparel company has bricked over an iconic Harlem mural as they re-brand the exterior of their new store. Community members are concerned about the erasure of this tribute to the Harlem Renaissance and the the artists living and working in Harlem today and are questioning its legality.
Johns Sims was finally able to present his work, “Confederate Flag: A Public Hanging”, after years of forced adaptation and abridgment.
Paul Rucker’s traveling exhibition REWIND, an urgently relevant multi-media installation that addresses the history of racial injustice in America, was closed to the public by York College of Pennsylvania, less than one week into its run. Paul sat down with NCAC to discuss the incident.
In August, Artspace, a non-profit organization that manages spaces around the country where artists live and work, ordered the removal of an exhibition from the lobby of its property in Everett, Washington. The exhibition contained works by one of its residents, Steven Leyba, an artist of Native American and Jewish descent. Some of the works in […]
The discussion has brought to light the enduring lack of representation of Native artists in the art historical canon, in art museum exhibitions and in collections. However, it has also shown us a way forward.
While critiquing or protesting artworks is a vital part of a healthy democratic society, cultural institutions who bow to demands to remove or destroy works that engage with contentious political or social issues endanger our ability to maintain a public sphere where ideas and societal problems can be freely identified and discussed.
The message government is communicating appears to be that young people’s opinions concerning such issues are not respected and don’t matter.
The play offers a perspective on the experience of growing up biracial — or “mulatto,” a dated term used to describe a person with one black and one white parent.
Throughout March, to celebrate Women’s History Month, NCAC will be spotlighting censorship cases involving women and women’s issues on its crowdsourced wiki, Censorpedia.
An exhibition of artworks celebrating Black History Month was removed from display in a San Jose School district building after complaints calling the works offensive.
The number of cases registered in 2016 more than doubled the amount registered in 2015, an increase of 119%, which translates to an extra 469 attacks.
American University Museum in Washington D.C. flubbed its approach to a controversial sculpture after it claimed it did not want the message of the sculpture to be deemed the institution’s own.
The Allentown Art Museum in Pennsylvania chose to move works with a clear anti-Trump message to a separate gallery nearby.
The disciplinary charges constitute a neglect of Winthrop’s role as a ‘marketplace of ideas’ and its responsibilities under the First Amendment.