Since John Adams first took up residence there in 1800, the White House has been adorned with a relatively safe, traditional collection of art: pastoral landscapes by the likes of Frederick Childe Hassam, history paintings, and, of course, plenty of portraits of dead white men. But the Obamas have shaken it up, adding abstract and modern art to the mix, as the New York Times reports. Now, the White House art collection includes pieces by Mark Rothko, Robert Rauschenberg, Edward Hopper, Josef Albers, and Alma Thomas.
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Everything Old Is New Again: Native Americans and the New York School
Robert Rauschenberg, untitled print (2000) (© Robert Rauschenberg Foundation/Licensed by VAGA, NY)
Robert Rauschenberg and Photography
Installation view, Robert Rauschenberg and Photography (all images courtesy of Pace/MacGill)
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Is it wrong to commandeer space intended for public enjoyment to bolster a political legacy? That’s a question US President Barack Obama will soon answer when he and First Lady Michelle Obama announce the location of the future Barack Obama Library and Museum.
Obama’s Presidential Library May Gobble Up Historic Chicago Parkland
In March, the art world rallied to call for the protection of Nevada’s Basin and Range area, a landscape of rich archaeological resources and the site of Michael Heizer’s sprawling land art piece, “City” (1972–present). The region has faced numerous environmental threats, including a plan to develop a nuclear waste rail line, but last night the White House announced that President Barack Obama will sign a proclamation designating it a national monument, effectively protecting the 704,000-acre area. As the Las Vegas Review-Journal reported, the new monument is the second designated in the state within the last eight months (following the Tule Springs designation in December). The Basin and Range National Monument joins a list of over 100 such sites across the US.
Obama Declares Tract of Nevada Desert, and Michael Heizer’s “City,” a National Monument
Cambridge, MA — There is a story that sometimes circulates through the art world claiming the reason some of Mark Rothko’s work has faded over time is because he bought his paint at Woolworth’s Department Store. The story, of course, is untrue. It is a rendering of old gossip repackaged and passed along as a fact despite ample evidence to the contrary. The truth, however, is both more mundane and more interesting. Notoriously secretive, some would say neurotic, about his studio habits, Rothko helped contribute to this mythology by actively blunting questions about how he worked, especially how he handled paint.
What Your Favorite Artist Says About You
- Pablo Picasso: Most likely to be charged with sexual harassment
- Louise Bourgeois: Most likely to raise pet spiders in the workplace
- Mark Rothko: Most likely to turn all the lights off and stare into a corner
- Marina Abramović: Most likely to spend too much time looking in the bathroom mirror
- Andy Warhol: Most likely to decorate your cubicle with pictures of yourself
In the seven years since Shepard Fairey created what might be, to date, the most iconic artwork of the century — the “Hope” poster for Barack Obama’s 2008 US presidential campaign — its subject has had to make a lot of compromises and its creator has lost a lot of hope. In a recent interview with Esquire, Fairey expounds on his frustrations with President Obama and calls for massive campaign funding reform.
Art is often an act of venturing into the unknown, of starting something without knowing the outcome. Maybe that’s why so many artists have undertaken expeditions, whether setting out to ride the abandoned railroads of Mexico in a custom-built spaceship, teaching a flock of geese to fly to the moon, or patiently navigating the path of the sun across the Mojave Desert.
Tracking Artists’ Expeditions, from Glacier Surveys to a Search for Nixon’s Missing Moon Rocks
In the age of smartphone cameras and social media, it seems easier than ever for members of the public to freely share pictures of contemporary art. The copyright police won’t come after you for Instagramming your trip to MoMA, right? But securing permission to reproduce copyrighted images is still a logistical and financial nightmare for many teachers, scholars, reporters, and critics.
Rauschenberg Foundation Joins 21st Century, Embraces Fair Use










