Arthur M. Sackler Gallery, Freer Gallery and Washington Monument beyond, National Mall, Washington, DC 2015.
What OxyContin profits can pay for!
seen from United States
seen from United States
seen from China
seen from United States

seen from United Kingdom

seen from United States
seen from United States

seen from United States

seen from United States

seen from Singapore

seen from United States
seen from Switzerland

seen from United States
seen from China

seen from Japan

seen from Switzerland

seen from Germany
seen from Sweden
seen from United States
seen from United States
Arthur M. Sackler Gallery, Freer Gallery and Washington Monument beyond, National Mall, Washington, DC 2015.
What OxyContin profits can pay for!
hey tumblr this is a fairly niche topic but its been pressing on my mind recently so:
back in late march i went to the sackler gallery in DC and they had an exhibit for korean artist Park Chan-Kyong, centered on his film Gathering. My friend and I found the darkness and relatively empty area of the film Fukushima: Autoradiography and Child Soldier to be really nice so we ended up there for around 2 hours, during which the film(s) looped at least three times. At some point in the runtime of Child Soldier a song came on, which I found to be good and wanted to know what it's called. Unfortunately I did not get a recording of the song nor am I able to find ANY information about this one specific film outside of the website for the sackler gallery, which only lists it alongside the others and does no more. There are no online recordings of it, no audio clips, no wikipedia page, NOTHING. If any of you by chance are familiar with Park Chan-Kyong's work, please help me find the song. please. it was so good
An immersive exhibition at the Arthur M. Sackler Gallery uses technology to reconstruct historically significant sites in Mosul, Aleppo and Palmyra
A substantial number of major art collections in the United States came to be because of petroleum, or at least, have something of a whiff of the stuff about them, including the Met, MoMA, and practically every art museum in Ohio or Texas. Big Oil, both foreign and domestic, continues to provide corporate sponsorship for art institutions large and small across the country.
In the past, displaying offensive art got you into trouble. These days, it’s who paid for the display that’s becoming increasingly problematic.
I Live I Die I Will Be Reborn
Luchita Hurtado at the Serpentine Sackler Gallery:
Untitled 1972
Self Portrait 1973
Untitled 1960