The First Federally Subsidized Artists’ Housing In The U.S., Now In One Of The Country’s Priciest Neighborhoods

“Created in the 1960s [on the western edge of Greenwich Village], Westbeth brought together icons such as Diane Arbus, Robert De Niro Sr. and Benny Andrews. Merce Cunningham headquartered his dance company in a cavernous space in the building in 1971. Once verified as a working artist – meaning a person derived a significant portion of his or her income from the production and sale of their work – residents were admitted by disciplinary committees ranging from music and performance to visual arts and writing. Rent was determined by income. But what was meant to be a short-term solution for looking to build their careers quickly became a stronghold for artists as the city’s real estate prices rose” – and many of those early residents have never left.

Now Here’s An Old Easter Tradition We Could Revive: Priests Dancing Through Labyrinths Tossing Balls

“In Auxerre Cathedral in northern France, and most likely in cathedrals in Sens and Amiens (and perhaps Chartres, as well), clergy gathered around the labyrinth [patterned into the floor of the nave], danced in a circle, and tossed a ball from person to person. These games, according to medieval religious observers, had ties to pagan practices. In certain places, they were incorporated into church rituals for hundreds of years.”

The Brooklyn Museum Hires Two White Curators For Its African Collections, And Backlash Is Strong

The problem isn’t these two curators, specifically (though the “Black Panther” references are flying thick and fast on Twitter), it’s this widespread institutional issue: “African-Americans made up a mere 4 percent of all curators, conservators, educators and museum leaders, while Hispanics made up 3 percent and Asians made up 6 percent, according to a widespread museum demographic survey completed by the Andrew W. Mellon Foundation in 2015. White scholars occupied those roles at overwhelming rates, while people of color were more represented at museums through janitorial or security roles.”

Why Has This Brancusi Sculpture In A Paris Cemetery Been Covered Up?

This perplexing explanation of private family control, regardless of public ownership by the city of Paris and listing as a historical monument, was confirmed to Hyperallergic by Sylvie Lesueur, the conservator of Cimetières Montparnasse, who gave no further details other than confirming that the Rachewskaïa family is behind the boxed Brancusi. For now, “The Kiss” sits covered in secrecy by a very solid wooden box with a tiny hole, ostensibly serving to confirm that the sculpture is indeed still there — for now.

US Congress Votes To End “Government-Funded Oil Paintings”

Republican Sen. Bill Cassidy’s wish has come true, with President Donald Trump signing his Eliminating Government-Funded Oil-Painting — or EGO — Act into law on Wednesday. The cheekily named legislation prohibits taxpayer funds to be used on officially painted portraits. The law applies to portraits of the President, the Vice President, a member of Congress, the head of an executive agency, or the head of an office of the legislative branch.

NPR Ratings At All-Time High

“According to Nielsen Audio Fall 2017 ratings, the total weekly listeners for all programming on NPR stations is 37.7 million people – a record that has been maintained since the Spring of 2017. NPR’s Newscasts, updated live every hour, can now be heard on 947 broadcast stations by nearly 28.7 million listeners.”

The War Of The Beans: Chicago And Houston Papers Totally Diss Each Other’s Anish Kapoor Sculptures

As Kapoor’s Cloud Column is being installed in Houston (and drawing inevitable comparisons to Kapoor’s Cloud Gate in Chicago), the Chicago Tribune‘s Kim Janssen and the Houston Chronicle‘s Lisa Gray started throwing serious shade at each other’s public sculpture as the rest of the nation watched with amusement. (The Dallas Morning News chimed in with “Sorry Chicago, making fun of Houston’s ‘bean’ sculpture is our job.”)