Protest at the British Museum Edition -ARTnews

Interior of the British Museum.

ERIC POUHIER/WIKIMEDIA COMMONS

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Venice Dispatches

Keep up with ARTnews‘s continuous coverage of the Venice Biennale—with musings on saltwater sorbet and more. [ARTnews]

Here’s a look at the Ghana Pavilion, which includes works by Felicia Abban, John Akomfrah, El Anatsui, Ibrahim Mahama, Selasi Awusi Sosu, and Lynette Yiadom-Boakye. Akomfrah describes the exhibition as “a charismatic example in a sea of whiteness.” [The Guardian]

Museums

On May 25, the Art Gallery of Ontario in Canada will roll out changes to its admissions fees in an attempt to diversify its audience. Among a few other alterations to its current policy, visitors 25 or younger will now get in for free. [ARTnews]

Los Pinos presidential palace in Mexico City will stage an exhibition of votive paintings recently repatriated to Mexico from Italy. Diego Prieto, director of the National Institute of Art and History, said, “In receiving these pieces, Mexico recovers a wealth of iconographic testimonies that allow us, through time, to delve into the domestic and community life of the peoples of Mexico.” [The Art Newspaper]

The activist group BP or not BP? put on its second “Stolen Goods” tour of the British Museum with some 300 attendees and speeches from Palestinian, Iraqi, Greek, and indigenous Australian activists. [Hyperallergic]

Camp Discourse

New York Times art critic Roberta Smith and fashion critic Vanessa Friedman examine the successes and failures of “Camp: Notes on Fashion,” the latest exhibition by the Met’s Costume Institute. Among her critiques, Smith points out that “there is an undue amount of Moschino” in the show. [The New York Times]

Abodes

A piece on the enduring resonance of the Olson House in Cushing, Maine, which Andrew Wyeth depicted in his 1948 painting Christina’s World. [The New Yorker]

Step inside this candy-colored, biomorphic apartment in Tokyo, recently renovated by the architectural designer Adam Nathaniel Furman—who says, “A lot of people approach me and then see my portfolio and then run away screaming.” [The New York Times]

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