By Deb A.
The tides are turning against a major donor in the art world. Over the last week, the Tate Modern, the National Portrait Gallery, and the Guggenheim all announced that they would no longer be accepting donations from the Sackler family.
The Sacklers earned themselves a name in the art world by donating millions upon millions of dollars to museums and galleries. The Metropolitan Museum of Art and the Louvre have Sackler Wings, the British Museum has Raymond and Beverly Sackler Rooms, and the group of Tate galleries had already accepted over $5 million from the family before their recent announcement.
The problem lies in the source of the Sackler family's billions: Their company, Purdue Pharma, developed and aggressively marketed OxyContin while hiding its addictive properties, making the Sacklers almost single-handedly responsible for North America's opioid crisis.
Photographer Nan Goldin, who herself became addicted to painkillers after being prescribed OxyContin, established Prescription Addiction Intervention Now (PAIN) to protest the Sacklers's involvement in the arts and insist that they fund rehab programmes and overdose antidotes instead of making prestigious donations. She led demonstrations at the Met and the Guggenheim, and threatened to withdraw from an exhibition of her work at the National Portrait Gallery if it accepted a million-pound donation from the Sacklers. The gallery turned the money down.
The Sacklers are far from being the only ethically problematic patrons of the arts, and it is unlikely that museums and galleries around the world, especially those with long histories, will be able to extricate themselves completely from blood money and ill-gotten gains. But this is no reason to avoid taking a stand; galleries must make it clear that they will no longer accept money that was earned by putting lives at risk.
By Deb A.
"Every black person deserves to see themselves this way": Mikael Owunna's Infinite Essence photography project is his reaction to the barrage of images of dying or dead black bodies. It is both poignant and incredibly beautiful, and a thorough look at his website and social media, along with this interview with NPR, is well worth your while.
Patrick Heide Contemporary Art in London is showing a group exhibition focused on Brexit entitled Should I Stay Or Should I Go?
It didn't take long for the first comic depicting U.S. Congresswoman Alexandria Ocasio-Cortez (as an establishment-fighting hero) to emerge. (Devil's Due Comics)
The New York Times marked Black History Month by telling the stories of some of the notable black men and women who did not receive obituaries when they died. The project is called Overlooked, and its last entry of the year is a look at graffiti artist Dondi.
If it's too cold to get outside, at least there's this: The Outdoor Photographer of the Year winners for 2018.
It's somehow hard to imagine a list like this that didn't include Margaret Atwood (spoiler alert: This one does): CBC's "10 Canadian books coming out in March we can't wait to read."
By Deb A.
The first ICYMI of the 2019 is all about gratitude and celebration. Read on!
... to Lin-Manuel Miranda and three Hamilton collaborators, who are saving New York City's Drama Book Shop, (New York Times)
... to Simon Beattie, founder of the gorgeous We Love Endpapers group, and to The Guardian for helping the world discover it.
... to Georg P. Salzmann (1929–2013): With recent surveys showing that 5% of British adults do not believe the Holocaust happened and that 20% of young Canadians don't know or aren't sure what the Holocaust is, it's heartening to return to the story of Georg Salzmann, who spent nearly 40 years collecting around 12,000 books banned by the Nazis. (BBC)
... to Wyatt Walker, college basketball player and man with the arm that will save an ancient Roman statue. (Hyperallergic)
... to Jayant Kaikini and translator Tejaswini Niranjana, winners of the 2018 DSC Prize for South Asian Literature for No Presents Please. This is the first time that the award has gone to a translated work. (The Indian Express)
... to Hannah Sullivan, who won the 2018 T. S. Eliot Prize for Poetry for her debut collection, Three Poems. (Faber)
... to Duncan Murrell for winning the Ocean Art Underwater Photography Contest with his "Devil Ray Ballet". (Lonely Planet)
By Deb A.
What makes a book difficult, and is that a bad thing? (The Guardian)
The Deutsche Börse Photography Foundation has announced its shortlist for next year's prize.
Behind the scenes with the impressive list of celebrities reading children to sleep on CBeebies Bedtime Stories. (BBC)
Jawohl! The Deutsche Welle has put together a list of 100 must-reads translated from German into English.
Artist Tania Willard's recent work turns the wind into a poet. (CBC)
The science is in on how to become a successful artist. (artnet; full study, published in Science, available here)
The 2018 New York Times/New York Public Library Best Illustrated Children's Books are here!
By Deb A.
Here are some tidbits you may have missed this week.
"Alas for me! I am dead!": Ancient speech bubbles have been discovered in Jordan. (Atlas Obscura)
World of WearableArt celebrates its 30-year anniversary this year. (World of WearableArt)
Film, sculpture, performance, installations, activist architecture—but not a paintbrush in sight. The Turner Prize shortlist is here. (Tate)
Speaking of shortlists, the Photobox Instagram Photography Awards has one and there isn't a single shot of brunch to be seen. (PIPA)
Caitriona Lally won this year's Rooney Prize for Irish Literature for her debut novel, Eggshells. The award is given by Trinity College Dublin, Ms. Lally's alma mater and current employer; she has been working there as a cleaner since 2015. (CBC Radio)
How to probably not corrupt your child: Read them books that have been banned. Julia Pistell celebrates Banned Books Week. (Shondaland)
And now that you've reached the end, stop scrolling and get back to your book—but take a look at Joe Moran's examination of slow reading first. (The Guardian)
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