A Proposition: I’ll Pay You What You Paid For Your African Art (And Nothing More)

To encourage private collectors in the West to repatriate such pieces, Shindika Dokolo hopes to set up a war chest funded by Angolan businesses, including the State oil firm Sonangol, to reimburse buyers who purchased such items in good faith. “I want to organise a business club around the idea of heritage and start buying it back. I want to create an instrument that is effective,” Dokolo says.

Freer And Sackler Galleries Put Images Of All Their Art Online (Here’s Why)

“The technology pushes the boundaries of what it means to be a museum because it allows for unrestricted study and enjoyment of the collection. Next month’s release will include at least one image of each work — the majority in high-resolution — and the collection will be searchable and largely downloadable for non-commercial use.”

“Scandalous Desecration”: Restorers Paint Walls Of Chartres Cathedral; Architecture Critic Flips Out

“Looking upward we then saw panels of blue faux marbre, high above them gilded column capitals and bosses (the ornamental knobs where vault ribs intersect), and, nearby, floor-to-ceiling piers covered in glossy yellow trompe l’oeil marbling, like some funeral parlor in Little Italy. How could this be happening, and why had we heard nothing about it before?”

University Of Iowa Removes An Anti-Hate-Speech Art Work For Being “Offensive”

“Created by Serhat Tanyolacar, a UI visiting professor and printmaking fellow, the klansman sculpture was decoupaged in newspaper coverage of racial tension and violence throughout the past 100 years. The piece was meant to highlight how America’s history of race-based violence isn’t really history and “facilitate a dialgoue,” as Tanyolacar told university paper The Gazette.”