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News
Guardian art critic Jonathan Jones has a radical idea for a monument to replace the recently fallen statue of slaver Edward Colston in Bristol, England. [The Guardian]
London’s mayor vowed to review “the diversity of London’s public landmarks” as a result of protests there. [The Art Newspaper]
For the morning TV show Today, Scott Stump looked into makeshift protest posters and artwork assembled by marchers around the White House. [Today]
Scott Reyburn surveyed the effects of what he calls a generation gap as the art market moves online. “Collectors’ reluctance to offer exceptional works online, much less buy them, has resulted in a dramatic reduction in high-value art sales during the pandemic.” [The New York Times]
Dark prospects for the future of the historic San Francisco Art Institute owe to a conflagration of factors beyond the coronavirus crisis that officials have held out as a cause. [ARTnews]
Resurgence
The St. Louis Art Museum will reopen June 16, with new rules and a Jean-François Millet exhibition extended to mark the occasion. [St. Louis Post-Dispatch]
In Madison, Wisconsin, artists have banded together to “help turn bland canvasses of plywood into what may be one of the city’s largest, collective public works of art ever created.” [Wisconsin State Journal]
A prescient public artwork that seems to have presaged so much of late was installed in the Power and Light District in downtown Kansas City, Missouri. [KSHB Kansas City]
Misc.
Günther Uecker, a pioneering member of the Zero artist group that emerged in the late 1950s and early ’60s in Germany, did not appear at a court date in Düsseldorff related to an authentication claim over a work whose provenance has been called into question. [Monopol]
Check out some artful feats of architecture and design conceived to serve an ages-old fascination with living deep beneath the sea. [The Guardian]
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