BmoreArt News: Happy 85th to The Senator and The Charles, Natalia Ángeles Vieyra at NGA, the BMA’s Indigenizing the Museum

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This week’s news includes: The Charles and The Senator celebrate 85 years, Natalia Ángeles Vieyra becomes the first Curator of Latinx Art at the National Gallery, the BMA launches Preoccupied: Indigenizing the Museum, John Waters reflects on 78 years, 25th Annual Maryland Film Festival lineup, José Luis Novo returns to Annapolis, Aubrey Plaza cast in Liarmouth, Zander’s employees claim Brendon Hudson owes them money, Lena Stringari appointed Chief of Conservation at the National Gallery, and a German art museum worker hangs his own painting and is fired  — with reporting from Baltimore Magazine, Baltimore Fishbowl, Baltimore Brew, and other local and independent news sources.

Header Image:  Dana Claxton (Hunkpapa Lakota). Lasso. 2018. Courtesy the artist and Vancouver Art Gallery. from Preoccupied: Indigenizing the Museum at the BMA.

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Chris and Kathleen Lyon with “Buzz” Cusack in front of The Charles Theatre. —Photography by Mike Morgan

Baltimore’s Charles and Senator Theaters Turn 85
by Amy Scattergood
Published April 8 in Baltimore Magazine

Excerpt: On a cold weeknight in February, a small stream of people walk under the marquee of The Charles Theatre in Station North, queuing to watch a 29-year-old Jim Jarmusch film. Once inside, moviegoers buy popcorn at a retro metalwork concessions stand and mill around between cherry-red metal chairs and cafe tables set out on the concrete floor. Exposed brick walls run down both sides of the lobby to the five screening rooms, the walls hung with movie posters. A vintage Super Simplex 35-millimeter film projector, circa the 1920s, stands at the end of the hallway, a reminder of the theater’s long history.

And what a history it is. The Charles Theatre, then called The Times, opened as an all-newsreel theater in 1939, the same year The Senator Theatre opened just four miles north in Govans. That the two theaters, now the oldest movie theaters in Baltimore, are still open and screening films is thanks to the creativity and perseverance of one local family.

Over the years, James “Buzz” Cusack, his nephew John Sandiford, Cusack’s daughter, Kathleen Cusack Lyon, and her husband, Chris Lyon, reclaimed both theaters when each closed, rebuilding and reopening them, then reopening them again after the pandemic and then after subsequent entertainment-business strikes threatened to keep them shuttered.



Natalia Ángeles Vieyra will be joining the National Gallery of Art on June 30. (image courtesy Natalia Ángeles Vieyra)

National Gallery of Art Names Its First-Ever Curator of Latinx Art
by Rhea Nayyar
Published April 5 in Hyperallergic

Excerpt: This summer, curator and art historian Natalia Ángeles Vieyra will be joining the National Gallery of Art (NGA) in Washington, DC, as the institution’s first-ever curator of Latinx Art. With her expertise in 19th-century through contemporary Latinx, Latin American, and Caribbean art, Vieyra will assist with further developing the NGA’s existing holdings in this area through new acquisitions, scholarship, exhibitions, and public programming.

“I am excited to engage with the rich historic collections at the NGA, and to think about how these collections can be activated through collaborations with contemporary Latinx artists and the Latinx community — both in DC and nationally,” Vieyra told Hyperallergic, noting her specific expertise on 19th-century Puerto Rican painter Francisco Oller, the subject of her dissertation at Temple University.

Vieyra has held fellowships at various museums on the East Coast and has worked as a curatorial assistant at both the Pennsylvania Academy of Fine Arts in Philadelphia and the Vincent van Gogh Museum in Amsterdam.



James Luna (Luiseno/Puyukitchum, Ipai, and Mexican American). End of the Frail. 1993. Tia Collection, Santa Fe, NM

BMA Launches Preoccupied Initiative in April—Greatly Enhancing Native Voices and Works Across the Museum
Press Release :: April 8

On April 21, the Baltimore Museum of Art (BMA) launches the BMA’s Preoccupied: Indigenizing the Museum initiative with the opening of Dyani White Hawk: Bodies of Water, which features new and recent works from the artist’s ongoing Carry series. For works in this series, White Hawk (Sicángu Lakota) adorns large copper buckets and ladles with glass beads and long fringe that suggest arboreal root structures. These works upend the long-held boundaries between fine art and craft traditions in museum practice and center Native perspectives on the significance of both functionality and artistry in material culture. In this way, Bodies of Water is an apt and compelling beginning to a series of exhibitions and projects that significantly enhance the presence of Native voices, experiences, and works across the museum.

Six of the nine Preoccupied exhibitions open in April and May: Dyani White Hawk: Bodies of Water (April 21–December 1, 2024); Finding Home; Enduring Buffalo; and Illustrating Agency thematic exhibitions; Don’t wait for me, just tell me where you’re going film series curated by Sky Hopinka (Ho-Chunk Nation and a descendant of the Pechanga Band of Luiseño Indians); and Caroline Monnet: River Flows Through Bent Trees, a new commission. (all May 12–December 1, 2024). They are followed by Nicholas Galanin: Exist in the Width of a Knife’s Edge (July 14, 2024–February 16, 2025); Laura Ortman: Wood that Sings (July 17, 2024–January 5, 2025); Dana Claxton* (August 4, 2024–January 5, 2025) *working title
The Preoccupied initiative also includes interpretative interventions across the museum’s collection galleries, the development of a publication guided by Native methodologies, and a broad array of public programs through February 2025. Nearly 100 individuals contributed to or are represented across this expansive initiative, which transforms not only who tells stories in museums like the BMA, but also what stories get told and how.

Preoccupied: Indigenizing the Museum centers Native voices and elevates an often overlooked community within encyclopedic museums—particularly on the East Coast,” said co-curator Dare Turner (Yurok Tribe). “This project is a first for Baltimore in that it challenges museums like the BMA to make space for new ways of thinking, learning, and being. It insists that Indigenous lifeways have existed as long as memory, and they continue today through the practices, awareness, and art of contemporary Native people.” Leila Grothe, co-curator and Associate Curator of Contemporary Art at the BMA adds, “This project privileges the beauty and virtuosity of artworks made by artists whose names we no longer know up to some of the most acclaimed artists working today. Preoccupied celebrates Indigenous art and artists in all their vitality and establishes a framework for ongoing engagement and presentation at the BMA.” […]



Baltimore filmmaker John Waters at the Academy Museum of Motion Pictures. Photo by Greg Gorman.

John Waters as he approaches 78: ‘I did what I was put on this Earth to do.’
by Ed Gunts
Published April 5 in Baltimore Fishbowl

Excerpt: “What is your niche, John Waters?” a radio interviewer asked the writer and filmmaker this week.

“My niche?” Waters responded. “I would say that I make exploitation films for art theaters. And I don’t think anybody had really done that before. Even if you hate my movies, I think you can give me that. And I made ‘trash’ one percent more respectable. I did what I was put on this Earth to do.”

On Thursday, Waters was the guest of Ben Goodman’s “What’s Your Niche?” radio program, in which the host asks people what sets them apart and what they like to do. A variation of sorts on the old “What’s My Line?” TV show, the program originates from CJSW-FM in Calgary, Alberta, and streams on



25th Annual Maryland Film Festival is ‘Stepping Beyond the Screen and into the Story’ Boasting Diverse Films, Tech-Forward Programming, and Free Community Events for All Ages
Press Release :: April 9

The organizers of the 25th Anniversary of the Maryland Film Festival today released the schedule for the highly anticipated 25th anniversary event centered around the iconic Stavros Niarchos Foundation Parkway Theatre in Baltimore’s Station North Arts District. From May 2-5, the festival will offer a diverse array of feature films, shorts, panels, talks, receptions, after-parties, and tech-forward programming with CineTech, the MdFF’s first ever emerging tech sidebar. The full line up of films and events can be found online in the Main Slate, and soon a “How to Fest” guide will be available for festival goers to create a personalized itinerary specific to tastes, tickets, and schedules.

“To celebrate 25 years of the Maryland Film Festival we’re looking back to look forward, celebrating our beloved and storied festival with special retrospective screenings, filmmaker alumni, and by showing appreciation for all of the hard work and audience love that has gone into making MdFF the Mid-Atlantic’s preeminent film festival,” remarked KJ Mohr, MdFF’s Festival Director & Director of Programming. “We will be celebrating filmmakers who are Baltimore born and raised, as well as the extraordinary talent that is currently drawn to and who have adopted Maryland as home. Plus, after watching films all day, we invite audiences to get out of their seats and turn up at one of our many nightlife events happening in the surrounding neighborhood.”

For the first time ever, the Maryland Film Festival will offer tech-forward programming with CineTech, a curated exploration of cinema and emerging technologies made possible by sponsors Evergreen Digital, Johns Hopkins ISET and BaltiVirtual.

“Much like other major film festivals around the world, we will be looking to the future of moving image creation in Baltimore and beyond with our focus on emerging filmmakers and on emerging cinematic technologies,” said Q. Ragsdale, curator of CineTech. “We hope audiences will embrace this opportunity to dive into the future of storytelling, where technology blurs the line between viewer and story, creating unforgettable experiences. Whether exploring new worlds in VR, bringing stories to life with AR, immersing yourself in multidimensional narratives, or taking control of your journey in interactive games, CineTech offers something for everyone. We’ll be stepping beyond the screen and into the story.”

In addition to its curated selection of films, the 25th MdFF will feature special retrospective screenings, showcasing highlights from the festival’s illustrious history. Audiences will have the opportunity to revisit beloved classics, discover overlooked gems, and celebrate the filmmakers who have made MdFF such a vital and enduring institution. Retro MdFF features special favorites from past Maryland Film Festivals, as well as essential early silent Black cinema with a live score (in keeping with that beloved MdFF tradition), a kooky late-night offering from a Charm City distributor and restorator, and a recognizable Baltimore story that was released the year our Festival began and was supported by MdFF’s founders.

Starting in 2019, BaltiShorts has become a staple in the MdFF program, highlighting movies made by DMV creators or films about the greater Baltimore community. This year’s BaltiShorts program features docs, narratives, experimental work and animation spotlighting quintessential Mid-Atlantic stories and sensibilities.

Since its inception, MdFF has been a beacon for film enthusiasts, artists, and industry professionals alike, showcasing the best in independent, international, and local cinema.  MdFF has grown into a premier destination for both filmmakers and cinephiles, fostering an inclusive and dynamic community dedicated to the art of storytelling through film. Held annually over the past 25 years, the festival has evolved, embracing new technologies, formats, and voices while remaining true to its core mission of celebrating the power of cinema to inspire, provoke, and unite audiences. Each screening is an opportunity for audiences to engage directly with filmmakers, enhancing the communal viewing experience. Under the banner of “Film for Everyone,” the Maryland Film Festival remains committed to bringing unique and captivating stories to a broad audience.

The Maryland Film Festival would like to extend its deepest gratitude to its sponsors, partners, volunteers, filmmakers and dedicated audience members who have supported the festival over the past 25 years. Their passion and commitment have been instrumental in making MdFF the success it is today, and the festival looks forward to continuing to serve as a beacon for independent cinema for many years to come.



Awadagin Pratt will perform Beethoven’s Piano Concerto No. 4. with the Annapolis Symphony Orchestra on Friday and Saturday. (Courtesy photo)

A renowned Black pianist will perform in Annapolis. Is it a milestone?
by Rick Hutzell
Published April 9 in The Baltimore Banner

Twenty years ago, José Luis Novo was applying for a job in Annapolis.

It was just two years after the Annapolis Symphony Orchestra had decided to part ways with the only Black conductor in its history, voting against renewing his contract over declining ticket sales.

Among the questions the search committee asked Novo, one stands out in his memory.

“They said, ‘We would like to offer you the job, but we are afraid that you are too progressive for our audience,’ ” Novo recalled. “And maybe they asked me, ‘How would you approach that?’ ”

“And I said, ‘Well, that’s a good point.’ I said, ‘I will depart from where your audience is right now.’ ”

Annapolis is a city with a racist past. There’s just no nice way of saying that. It was a marketplace for enslaved people; it carries the burden of lynchings and a long record of discrimination, both overt and subtle.

The arts, well, have always had their own problems.

Despite a widespread fondness for past glories like the music of Carr’s Beach, a segregated resort where renowned Black musicians performed, diversity in arts can be hard to find in Annapolis.

“Once upon a time, there was like nothing,” said Darin Gilliam, an arts promotor and educator who is part owner of ArtFarm Studios. “There was, I mean, nothing.”

An Annapolis High School graduate, she came home from college in the early 2000s and joined arts advocacy groups, only to find she was the only person of color involved.

“I mean, every single event — every single event — there was not a person of color leading it,” Gilliam said. “There was not a person of color attending, and it was kind of depressing.”

This weekend, two guest artists will appear in the Annapolis Symphony’s Masterworks Series. While neither is a first, their appearance represents both progress and the challenges in diversifying local arts.

Korean American composer Nicky Sohn will premiere her first symphony, commissioned by the ASO through a California program that gives young composers a chance to work on a grand scale. Then Awadagin Pratt will perform Beethoven’s Piano Concerto No. 4., a traditional piece for orchestral music interpreted by something of a rarity — a successful classical pianist, educator and conductor who is not only Black but who has made confronting racism part of his art.

“One of the things that orchestras get criticized very often for is that we don’t change easily and we are kind of elitist,” Novo said. “For my whole tenure with the Annapolis Symphony, I’ve been fighting that from the start.”

Annapolis has more than the symphony. It is a small-town cultural arts center, where dozens of small stages host a variety of musical genres. Eight performing arts companies put on multiple productions each year. Dozens of galleries and museums expand the visual arts beyond boat paintings.

Maryland Hall, the biggest stage in town, seats 725. Plans for public art works can generate enormous interest. The city has had two poets laureate.

So, why when you see a focus on artists of color does it stand out as noteworthy? Why are audiences so overwhelmingly white when the population of Annapolis is 35% Black or Hispanic?

“I, myself, have played just about everywhere there is to play in Annapolis,” said Kelly Bell, whose namesake Kelly Bell Band has played what he’s dubbed “phat blues” for 30 years. “But that’s because of the popularity of the act and the money that people think it’s going to bring in, not because they’re trying to spread their diversity values.”

“I’ve been on radio stations where they told me I was too Black.”

There are groups that promote Black art and culture in Annapolis, such as those that organize the Kunta Kinte Heritage Festival and the Annapolis Juneteenth Parade. The Banneker Douglass Museum focuses exclusively on this, while several groups, including the Arts Council of Anne Arundel County, the Maryland State Archives, Maryland Hall and Visit Annapolis, have programs exploring it.

“It’s important that we collectively push to center [diverse] artists in our state’s capital to preserve, celebrate, and share the rich diversity that is Maryland,” museum Director Chanel C. Johnson wrote in an email.

While people of color perform and stage exhibits in Annapolis, it is hard to find any place where you can walk in and expect to be blown away by work from the Black or Hispanic experience.

“The talent is there, but it feels like sometimes, when specifically Black and Latino faces in the arts get pushed to the front, it’s more to like check a box or to say, ‘Oh, look,’ we’ve got this one Black artist that we work with, or this one Latino artist that we work with. ‘Look at us, we’re doing a great job,’ ” Gilliam said.

It’s not just Annapolis, of course, that struggles with diversity in the arts. It’s a broader culture that doesn’t always respect diverse viewpoints from diverse artists.

Bell said he often runs into difficulty with the national anthem — something he’s sung thousands of times — because of the threats to enslaved Black people and indentured servants written into the third verse by Francis Scott Key, a slave owner and anti-abolitionist.

“Why in the hell would that be our national anthem?” Bell asked. “We are a diverse nation, and at a difficult time in our country where we’re talking about immigration and everything else, we’re still singing that damn song.”

There have been changes, many of them for the better.

Maryland Hall showcases artists of color, as does ArtFarm. But often they struggle to find artists that fit both goals, local roots and diversity.

Annapolis High School, among the most diverse schools in Anne Arundel County, has an arts magnet program, Apex Arts. It produces a significant number of young Latino and Black artists, some of whom will have their senior projects on display at Maryland Hall through May 17.

Many go to college to study art and never return, choosing cities with bigger and more diverse arts communities.

Half the board members at the county arts council, which provides grants and other help to smaller arts programs, are people of color, including Gilliam. Many of them work in the arts.

You can find minority artists if you know where to look. Black musicians and poets like Davonne D’Neil and Gayle Danley will be part of this year’s Annapolis Songbird Festival featuring women artists on April 20. The Kelly Bell Band, with its mix of styles that can send Blues snobs into conniptions, will play at Club Vibe on May 25.

Fifty percent of the Annapolis Symphony Academy classes are students of color. It didn’t exist when Novo arrived here 20 years ago, and one of the goals was to give minority students learning and performance opportunities that public schools cannot match.

“By the time we actually opened the academy, we were exactly 50-50,” Novo said. “So it has been surprisingly easy to stick to the goal.”

The audience is younger than when Novo started with the ASO in September 2004, and regular performances at the Music Center Strathmore in Montgomery County have helped reach a more diverse audience. The music, like Sohn and Pratt on Friday and Saturday, has changed, too.

“I think all that mix is hopefully going to produce the result that we want,” Novo said.

The Annapolis Symphony Orchestra will perform the fifth concert of this season’s Masterworks series, “Roman Festivals” featuring the World Première of Nicky Sohn’s Symphony No. 1 and pianist Awadagin Pratt playing Beethoven’s Piano Concerto No. 4 Performances are at 7:30 p.m. Friday and Saturday at Maryland Hall and at 3 p.m. Sunday at the Music Center at Strathmore. General Admission tickets are $33-$91, plus fees. Student tickets are available for $10.

This story was republished with permission from The Baltimore Banner. Visit for more.



Actress Aubrey Plaza and Baltimore filmmaker John Waters onstage at the Sydney Goldstein Theater in San Francisco. Photo by Ed Gunts.

John Waters confirms that Aubrey Plaza has been cast to star in his proposed film adaptation of ‘Liarmouth’ but says he doesn’t yet have funds to make it
by Ed Gunts
Published April 9 in Baltimore Fishbowl

Excerpt: Filmmaker John Waters says he’s found the leading lady for his next movie but doesn’t yet have the funds to make it.

Waters confirmed at an appearance in Los Angeles over the weekend that Aubrey Plaza has been cast to star as Marsha Sprinkle in the film adaptation of his 2022 novel “Liarmouth: A Feel-Bad Romance.”

But he told an audience at the Academy Museum of Motion Pictures that he’s still working to secure funds to proceed with the project, which he has promised to film in Baltimore if it moves ahead.

See also:

John Waters confirms Aubrey Plaza will star in ‘Liarmouth’
by John-John Williams IV and Brett Barrouquere
Published April 9 in The Baltimore Banner

Excerpt: Filmmaker and Baltimore native John Waters isn’t calling anyone a “Liarmouth,” but said rumors about Aubrey Plaza starring in his next movie aren’t true.

Waters, known as the “Pope of Trash,” is pushing back against published reports that Plaza, of “Parks and Recreation” fame, will play the lead role of Marsha Sprinkle in the film adaptation of his first novel. Waters said he’s producing his first film in about 20 years, but it isn’t far enough in the development process to have a star attached.

… this story continues. Read the rest at The Baltimore Banner: John Waters sets the record straight on Aubrey Plaza and ‘Liarmouth’ rumors



Restaurateur Brendon Hudson stands inside the Alexander Brown building, which is home to his restaurant, Zander’s. (Christina Tkacik)

The Dish: They came to Zander’s restaurant for work, but say they left with debt and bounced checks
by Matti Gellman
Published April 10 in The Baltimore Banner

Excerpt: One week after Joe Colona quit his job, he bought the best restaurants issue of Baltimore magazine and hunkered down in a Mount Vernon coffee shop. Flipping through the list of eateries, he searched for his next gig.

He turned to page 148. Staring back at him was a portrait of Charm City restaurateur Brendon Hudson sitting by a fireplace in his third-floor guest room, granting readers an exclusive tour of his near-million-dollar, 4,950-square-foot Bolton Hill rowhome, surrounded by designer furnishings and Andy Warhol-styled wallpaper.

The magazine described him as the owner of a luxury catering company and the creator behind a fast-growing hospitality group, Liliahna Hospitality, with three eateries: the coffee shop Piccola Allora, the Roman bistro Allora and the now-four-month-old fine dining restaurant downtown known as Zander’s.

But to Colona — Zander’s former manager — Hudson is the man who owes him $4,145 in wages.

… this story continues. Read the rest at The Baltimore Banner: The Dish: They came to Zander’s restaurant for work, but say they left with debt and bounced checks



Lena Stringari

National Gallery of Art Appoints Lena Stringari as Chief of Conservation
Press Release :: April 4

The National Gallery of Art announced today that Lena Stringari will join the museum as chief of conservation. Stringari comes to the National Gallery following a long career at the Solomon R. Guggenheim Museum in New York, where she has served most recently as deputy director and Andrew W. Mellon Chief Conservator.

When she begins her tenure on July 14, Stringari will lead one of the largest and most comprehensive conservation divisions among the world’s art museums. Heading six conservation departments, a scientific research department, and an administrative office, she will work to preserve the National Gallery’s growing collection, currently comprising some 160,000 objects, sustainably and in service of the nation.

In addition to preserving the nation’s art collection, the conservation division conducts innovative scientific research in collaboration with colleagues worldwide. It also works closely with museum curators, often undertaking technical art historical studies that unlock understanding of artists’ materials, practices, and processes. The division also publishes Facture, a biennial peer-reviewed journal that provides insights and scholarship in all aspects of the field.

“We are excited to welcome Lena Stringari to the National Gallery of Art in this important leadership position,” said E. Carmen Ramos, chief curatorial and conservation officer. “Lena’s impressive experience in leading complex teams and undertaking major conservation projects and research, as well as her commitment to sustainability and nurturing future generations of conservators, all make her an ideal leader for this role. I eagerly look forward to working with her in support of our talented conservation team and its service to our audiences and the nation.”

“I am deeply honored to have the opportunity to steward the nation’s collection and collaborate with the esteemed conservators and scientists of the conservation division at the National Gallery,” said Stringari. “My extensive tenure at the Guggenheim Museum, where I oversaw conservation efforts for a multifaceted global institution, has equipped me to embrace this important role. I bring with me an innovative spirit, a relentless curiosity, and a commitment to developing programs that illuminate the remarkable work dedicated to safeguarding our cultural heritage. Through the sharing of conservation narratives and the intersection of art and science, I aim to address fundamental inquiries about the purpose behind preserving both tangible and intangible cultural assets.”

Lena Stringari

Stringari has been deputy director and Andrew W. Mellon Chief Conservator for the Solomon R. Guggenheim Foundation since 2010 and 2008, respectively. Across her full career at the institution, she held various other positions in conservation of contemporary art, exhibitions, and paintings.

A recognized leader in the field, Stringari’s work at the Guggenheim spanned conservation, scholarship, curation, mentorship, and public service. Most recently, she curated the 2022 exhibition Eva Hesse: Expanded Expansion, overseeing the treatment of a work previously considered unexhibitable. She was instrumental in establishing the Variable Media Initiative, which emerged in 1999 as an innovative preservation strategy for media-based and performative works. Under her leadership, the Guggenheim established one of the first labs for time-based media preservation in the nation. More recently, she oversaw the Panza Collection Initiative, a 10-year curatorial and conservation research project focused on minimal and conceptual works from the 1960s and 1970s. Stringari also developed Art Detectives, an innovative summer program that exposes teens from across five New York City boroughs to the intersection of art and science. She has lectured and published extensively on materials and processes of various artists, treatment strategies, and conservation ethics. Stringari served as the executive team liaison to the Guggenheim Green Team, an interdepartmental team that has embedded sustainability practices throughout the institution. She is also a member of the international working group for the Bizot Green Protocol refresh, which establishes greener guidelines for environmental conditions and collections care.

Stringari is on the board of directors of the Time In Children’s Art Initiative and the art advisory council of the International Foundation for Art Research. She was a founding member of the International Network for the Conservation of Contemporary Art (INCCA) and an adjunct professor at the New York University Institute of Fine Arts for many years. She holds an MS in art conservation from the Winterthur Museum/University of Delaware and a BA in art history from the University of Pennsylvania.



The Pinakothek der Moderne in Munich. The employee had access to the gallery space outside opening hours. Photograph: Dpa Picture Alliance/Alamy

German art museum fires worker for hanging his own painting in gallery
by Philip Oltermann
Published April 9 in The Guardian

Excerpt: According to a quote commonly – if wrongly – attributed to the artist Andy Warhol, everyone will have their 15 minutes of fame. At Munich’s Pinakothek der Moderne museum earlier this year, one technician and aspiring artist got to bask in the limelight for a whole eight hours.

The museum in southern Germany on Tuesday confirmed that it had fired a member of its technical services team after he was found to have hung one of his own paintings in a part of the gallery dedicated to modern and contemporary art, allowing him to share a space with works by pop art pioneer Warhol for an entire day.

The 51-year-old man had smuggled his work into the display at Munich’s Pinakothek der Moderne “in the hope of achieving his artistic breakthrough”, the German newspaper Süddeutsche Zeitung reported, citing police sources.



header image: Dana Claxton (Hunkpapa Lakota). Lasso. 2018. Courtesy the artist and Vancouver Art Gallery. from Preoccupied: Indigenizing the Museum at the BMA. 

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