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New York Times
a day ago
- General
- New York Times
A Global Community Joins ‘the Conversation' at the Met's Rockefeller Wing
Round tables covered in white cloths surrounded the Temple of Dendur. Women wore fascinators, Nigerian geles and Hawaiian lei po'o, while men wore Yoruba agbadas, Hawaiian kāʻei and the occasional tuxedo, all in sartorial attempts to honor the lineage that brought them to the event. Curators, artists and archaeologists gathered for dinner at the Metropolitan Museum of Art to celebrate the culmination of four years of work — and the legacy of a historied American family — on Friday night. They were toasting the reopening of the Michael C. Rockefeller Wing and its collection of work from Africa, the ancient Americas and Oceania. Over lobster, foie gras, wine and champagne, friends of the Met and members of the Rockefeller family mingled among the 1,726 objects in the new gallery, which cost $70 million to complete and has 40,000 square feet dedicated to the arts of those regions. 'It is a coming together of a very global community,' said Max Hollein, the chief executive and director of the Met. 'And in this time, it's so much about respecting cultural heritage in many different ways but also making sure that there's a deep understanding, a deeper appreciation.' Want all of The Times? Subscribe.
RNZ News
a day ago
- General
- RNZ News
Māori and Pasifika art takes the MET
Fiona Pardington Hei Tiki (female) (PHOTO: supplied/MET) Māori artist(s) - Greenstone pendant (PHOTO: supplied/MET) Tongan artist(s) - Female figure ('otua fefine) (PHOTO: supplied/MET) Fijian artist(s) - Panel (Masi Kesa) (PHOTO: supplied/MET) Photo: Neil Mackenzie A delegation of seven Māori and Pasifika artists are at New York's Metropolitan Museum of Art, for the grand reopening of the Arts of Oceania Galleries. The galleries are housed in the newly imagined Michael C. Rockefeller Wing, of the MET, which has been closed for renovations since 2021. The Oceania Galleries have 500 years of art from our region. And it was in these galleries that the 1984 Te Māori exhibition took place, a huge step in the journey to elevate Māori and Pacific art from being viewed as 'anthropological artefacts' - to a living, dynamic cultural expression. Photo: Dr Maia Nuku Overseeing The Arts of Oceania galleries in New York is MET Curator Maia Nuku. Mihi speaks with Maia and Puamiria Parata-Goodall, who was a rangatahi performer for Te Māori when it toured the US from 1984-1986.
BBC News
a day ago
- Lifestyle
- BBC News
The naked billboard that shocked the establishment – and blazed a trail in the art world
It's been 40 years since the controversial activist group Guerrilla Girls formed. Their most powerful campaign, the "naked poster", broke new ground – and has had a lasting influence. On a Sunday morning in New York in 1989, a few women perused the permanent collection of the Metropolitan Museum of Art. Hidden among the regular punters, the anonymous feminist art collective, the Guerrilla Girls, went unnoticed as they carefully counted the number of female artists versus the number of naked women depicted in the artworks. They were on a secret mission to make people care about the racial and gender unfairness of the art world. "The idea always was to find that kernel that was unforgettable," one of the founding members of the Guerrilla Girls, who uses the alias Käthe Kollwitz, tells the BBC at the National Museum of Women in the Arts, ahead of an exhibition that celebrates 40 years of their work. They made their way through the different rooms – past the male nudes of ancient Greece and the near absence of nudity in the early Christian sections – but it was when they hit the early modern era that they found the statistics that would lead to their biting criticism of the art world. They posed the question of who was allowed to be subject and object in the lofty corridors of the world's most prestigious art institutions. "Less than 5% of the artists in the Modern Art Sections are women, but 85% of the nudes are female," reads the poster, next to a female nude whose head is covered by the group's trademark gorilla mask. To this day, the group remains anonymous, and when the BBC interviews Kollwitz, she is wearing the mask. "I don't think anyone who actually looks at that poster can go into a museum and not think about what is on the walls and why," she says. The Do Women Have to Be Naked to Get into the Met Museum? poster was meant to have been a commission from the New York Public Art Fund, but on seeing the final result, the funding was pulled. The Guerrilla Girls committed to their message and put it on billboards and buses themselves. "We decided to buy space on NYC buses. We also pasted it up ourselves on NYC streets." The poster threw the collective into the spotlight and cemented their style with a mass audience. The mix of humour, statistics and bold advertising slogans was the culmination of several years of working out how to tackle gender and racial inequality. The group's initial two posters – What Do These Artists Have in Common? and These Galleries Show No More Than 10% Women Artists or None at All – were plastered on walls, street lamps and telephone booths in New York, with no need for permission from the decisions of those who ran the powerful art institutions. The Guerrilla Girls' decision to adopt the language of advertising was in reaction to what they saw as the ineffectiveness of traditional protests. The group formed in 1985 after attending a protest outside the Museum of Modern Art in New York the previous year. The International Survey of Recent Painting and Sculpture had only featured 17 women and eight artists of colour out of 169 artists. "A couple of us went to this protest, and it was so clear nobody cared. Everyone just went inside the museum. You know, all these signs about women's art. They didn't believe it for a minute. And that was really the 'aha' moment." The "Naked" poster, as Kollwitz refers to it, was a game-changer. "We often have crazy visuals, facts, and humour – things to draw them in – and if you actually look at our posters, you'll never see art quite the same way again." 'Undeniable change' Author and podcaster Katy Hessel, in her book The Story of Art Without Men, points to how artists coming up through the '80s had all grown up with televisions in their homes. "Playing with the media (and art history's) stereotypes of women, they took back control of the gaze and turned it upon themselves." "The Guerrilla Girls brought public attention to the inequalities and systematic discrimination in the art world, and ultimately asked – just how did museums get away with celebrating the history of patriarchy instead of the history of art?" From being an outside force pushing for space, their text-based work now often hangs in the very places they once sought to provoke. Their continued anonymity is another invitation to remember women artists who struggled in their time. All the founding members are art professionals in their own right, but as the Guerrilla Girls, they carry the pseudonyms of deceased artists like Frida Kahlo and Zubeida Agha. More like this:• The masterpiece full of coded messages about WW1• Nine striking rare photos of 19th-Century America• The meaning behind Cannes' 'naked dress' ban "More than being anonymous, it's the way they do it that is also really clever," says Michael Wellen, a senior curator at Tate Modern in London, which has an ongoing free collection of their work on display. "There's a moment of education every time you're figuring out who you're talking to." Since their original counting of nudes in the Met, the art world has changed. But inequity between artists of colour and women in comparison to white men still exists. This can be seen not just in who hangs on the walls but in other areas of the art market. For example, artwork by women only accounts for 39% of gallery sales, according to a report by Art Basel in 2024. Recent studies also point out that permanent collections in major US galleries are 85% white and 87% male. In the UK, it was only in 2023 that the Royal Academy in London displayed Marina Abramović's lifetime of work – making her the first woman to have a major solo exhibition in their main galleries. "I think that there's undeniable change in how museums represent the history of art and contemporary art – and in large part, it's due to the light that the Guerrilla Girls have shone on these inequalities," says Wellen. While the poster protest was originally critiquing who was allowed to hang on the walls of museums and galleries, this focus has evolved for the Guerrilla Girls as well as for other artist activists, who are now scrutinising how funding is secured and where donors earn their money. In 2019, US art photographer and activist Nan Goldin staged a protest at the Guggenheim, dropping thousands of prescriptions into the atrium in protest against the museum accepting donations from the Sackler family, who own Purdue Pharma, the makers of prescription painkiller OxyContin, which has been blamed for fuelling the US opioid crisis. The protest featured in the documentary The Beauty and the Bloodshed. The Guerrilla Girls' work has also evolved to take on broader issues, tackling environmental concerns and expanding their signature style globally over the years. The founding members operate like a cell and have collaborated internationally, with approximately 60 contributors across Asia, Latin America and Europe. In March this year, they created a poster with the Bulgarian Women's Fund. Don't They Deserve More Than a Thin Slice of Government? criticised the lack of women's representation in the country's government. Tracking progress is difficult. Over the years, the Guerrilla Girls have revisited the poster that threw them into the spotlight, conducting recounts. It's a jarring commentary on how little things can change despite public pressure. Between 1989, 2005, and 2012, the number of female nudes in the Met decreased – but the number of women artists actually shrank. Of course, this isn't indicative of every institution, but as always with their work, the message is clear: there is still more to be done. "I chose her because she was a political artist, and that's what I consider the Guerrilla Girls and myself as well," says Kollwitz, when asked why she named herself after the German artist. Born in 1867, the real Käthe Kollwitz's work focused on women, and was profoundly anti-war. Stylistically her work is very different from the Guerrilla Girls, but the thematic content overlaps. The Guerrilla Girls remain active, and crossing the 40-year threshold is a moment for reflection – but also a time to look ahead. You might expect someone who has been battling injustices for decades with snail-like progress to be exhausted, but Kollwitz says the challenge of progress is what inspires the collective. In November, they will exhibit at the Getty Research Institute in Los Angeles, and a graphic novel is in the works. 'We will never stop making trouble,' she says. "Our fight is not over." Guerrilla Girls: Making Trouble is at the National Museum of Women in the Arts, Washington DC until 28 September. -- For more Culture stories from the BBC, follow us on Facebook, X and Instagram.
Washington Post
a day ago
- Entertainment
- Washington Post
Before ‘Madame X,' John Singer Sargent was even more dazzling
NEW YORK — The Metropolitan Museum of Art's 'Sargent and Paris' exhibition builds to a single moment, a single painting and a single scandal in the life of the young American artist. In 1884, a decade after he had arrived in Paris as a precocious 18-year-old, John Singer Sargent unveiled a portrait of a Louisiana-born Creole woman named Virginie Amélie Avegno Gautreau at the Paris salon. It caused a sensation that still ripples today.
Forbes
a day ago
- Entertainment
- Forbes
Cooking And Coping: Making Vedndakai (Okra) Curry With Sangeetha Kowsik
Cooking And Coping is a series created by @HungryEditor in early 2020 profiling people on what they are cooking and how they are coping in the world today. Sangeetha Kowsik is an artist, designer, Hindu chaplain, and founder of multidisciplinary creative ... More studio Ihsan Ishan Design. Sangeetha Kowsik is a Parsons School of Design graduate who has garnered decades of experience across fashion, beauty, luxury, streetwear, skateboarding, and gallery artistry working for global brands such as Estée Lauder, Tiffany & Co., Ralph Lauren, and The Metropolitan Museum of Art. She is the founder of Ihsan Ishan, an award-winning multidisciplinary creative studio dedicated to creating peace, understanding, and unity through innovative design. Kowsik also serves as the Hindu chaplain for NYU, where she founded the NYU Hindu Center. She holds the rare distinction of being a Hindu Indian American woman trained in Islamic/Arabic calligraphy, uniquely blending Hindu and Islamic traditions in her art to promote interfaith unity. Kowsik made history as the first woman of color to lead a design team at The Metropolitan Museum of Art in 150 years. She is a passionate advocate for underrepresented communities, including women and LGBTQIA+, using her art to connect diverse cultures and promote inclusivity. Kowsik's impactful interfaith initiatives and designs have earned her numerous accolades, including 'Chaplain of the Year' at NYU presented by Chelsea Clinton and the Mozaik Philanthropy Award for her Black Lives Matter design. Through her lectures and art, Sangeetha champions faith, inclusivity, and the spiritual significance of cultures, striving to create a more compassionate, understanding, and harmonious world. Sangeetha Kowsik is the first woman of color to lead a design team at The Metropolitan Museum of ... More Art. Benjamin Liong Setiawan: What recipe are you loving right now? Sangeetha Kowsik: My father's vedndakai (okra in Tamil language) curry. Vedndakai (Okra) Curry Ingredients Instructions Vedndakai (okra) Curry Setiawan: What do you love about this recipe? Kowsik: My father, with great love and devotion, used to prepare this curry every Thursday and offer it at the Shirdi Sai Baba Temple in Milpitas, California. In Hindu, food prepared for the deity is called Naivedyam—a sacred offering. After the puja (ritual prayer), the offering becomes prasad, comes from the Sanskrit word "prasāda" meaning "favor" or 'grace.' It's not just about taste—it's about memory, devotion, and the love behind every bite. Setiawan: Any special memories connected to this recipe? Kowsik: What makes this even more meaningful is that Shirdi Sai Baba was a Muslim saint deeply revered by Hindus and Muslims. His teachings emphasized compassion, unity, and devotion beyond religious boundaries. Attending aarti with my father, then sharing a communal meal with people of all backgrounds, embodied everything beautiful about spiritual life—love, equality, and harmony. My father always taught that all faiths are equal and lead to the Divine. Setiawan: Mental health is so important. What are some concerns that occupy your mind? Kowsik: The world often feels overwhelming—negativity dominates social media and the news cycle. It can be exhausting. But I believe we have a choice: we can dwell in fear and anger, or we can choose joy, peace, and purpose. That's how I try to live—by choosing gratitude, hope, and beauty in spite of the chaos. Setiawan: What are some ways you're coping with all the stresses of those concerns? Kowsik: I stay close to kind people and meaningful experiences. My Hindu faith grounds me. I also use my creative work as a form of advocacy—to counter stereotypes and spread compassion, connection, and truth through art and design. Setiawan: What are you doing to keep your peace? Kowsik: My Hindu beliefs teach me to see divinity in all beings, all paths, all of creation. I'm the founder of the NYU Hindu Center and the Hindu Chaplain at NYU. I find peace in temple rituals—watch the pujas regularly live streamed from the Flushing Ganesha Temple, the first traditional Hindu Temple in the United States, which my father helped build. I also go to the gym regularly (shoutout to TMPL Fitness!)—barre, strength training, alignment classes. Movement and prayer—both keep me grounded. Ihsan Ishan Design all over printed hoodie. Setiawan: What are you doing to stay creative? Kowsik: Ihsan Ishan Design, my award-winning multidisciplinary studio, is rooted in interfaith and intercultural storytelling. I create work that educates, inspires, and connects—like Arabic calligraphy-based depictions of Hindu deities, or collections inspired by the shared cultural and faith stories of Mesoamerica and South Asia. Unique stories that educate and make a difference celebrating our interconnectedness versus divisiveness. Setiawan: What are you doing to stay connected? Kowsik: I meditate, work out, spend time with loved ones, travel, soak in sunshine, and visit museums. Nature, culture, and community keep me grounded and inspired. Setiawan: What have you been learning recently? Kowsik: I just returned from a research trip to Oxford, England. I focused on lost Hindu deities and scriptures of love—why their worship was erased, and why love is the most powerful force of all. This learning has been both healing and exhilarating. Persian tile scarf design by Ihsan Ishan Design Setiawan: What changes do you hope to see in the future? Kowsik: I dream of a more educated, compassionate, inclusive world. I was the first woman of color, Hindu, and South Asian, to lead a design team at The Met in its 150 year history. I advocate for deeper representation of global cultures—especially from Asia, Africa, and South America—in museums. It's critical to correct the harmful misrepresentations of faith and culture that still exist in many institutional spaces. I want to see an end to racism, sexism, homophobia, Islamophobia—and all forms of prejudice and discrimination. These phobias stem from ignorance and fear, and we must confront them through education and compassion. I would also like the world to understand that not all Indians speak Hindi. Tamil, not Hindi or even Sanskrit, is the oldest living language in the world. South Indian cultures are often overshadowed by dominant North Indian narratives and Bollywood representations in the West. This imbalance exists in part because there are more North Indians in Western diasporas, and because darker-skinned South Indians frequently face more racism and receive less visibility in global media and culture. I hope to see South India—its languages, aesthetics, spirituality, and philosophies—more fully represented in museums, fashion, film, and broader cultural discourse. Instead of perpetuating narratives of Hindu-Muslim division—largely rooted in the trauma of the 1947 Partition that affected North India—we should amplify the harmony, interconnectedness, and inclusive spirit of the South, which has a different historical experience. Setiawan: What rhythms are you trying to implement in your life? Kowsik: Surrender. Trusting the Divine to lead me where I'm meant to go. Even when life feels chaotic, I'm committed to staying grounded in love, trust, and grace. Subhanallah Tabla by Ihsan Ishan. Setiawan: What projects are you working on? Kowsik: I am currently expanding my Allah Swami exhibition to larger audiences and demographics—an ongoing series that celebrates the shared spiritual, cultural, and artistic traditions of Hinduism and Islam through the mediums of Arabic, Persian, and Urdu calligraphy. These works are displayed by the mosque at NYU, where they have surprised and delighted the Muslim community, who are often moved to learn that a Hindu artist created them. This project is produced through my studio, Ihsan Ishan Design. I received formal training in Arabic calligraphy while working at The Metropolitan Museum of Art, and I use the form to unite Hindus and Muslims. In a time of escalating tension between India and Pakistan and within the broader Hindu-Muslim dynamic, this work is more important than ever. It focuses on what unites us—love, beauty, and shared heritage—rather than what divides us. As an interfaith and Hindu chaplain, I also give frequent lectures and workshops on Hinduism, religious literacy, and designing with cultural sensitivity. In collaboration with my friend, the scholar behind Persian Poetics, I am developing pop-up events featuring Ihsan Ishan's Persian Collection inspired by the interconnected cultures of Iran and South Asia. I also create branding, identity, logos, experiences, products, for a variety of clients and work for greater representation of cultures within museums. Persian Pomegranate Scarf by Ihsan Ishan Design Setiawan: What has been the most surprising to you lately? Kowsik: How negative social media and the news can be. But even in the darkness, there is always light—always something to smile about, to believe in. Setiawan: What has been inspiring to you lately? Kowsik: The Met's Superfine exhibition celebrating Black style and designers. The V&A's Mughal exhibition. The British Museum's show on South Asian faiths. The reopening of the Met's galleries on Africa, the Pacific, and Latin America. Representation is growing—but we still have so far to go. There is still a significant lack of people of color—and of individuals who actively practice non-Abrahamic faiths—working in major museums. As a result, there is widespread misinformation, misrepresentation, and deeply flawed interpretations being presented in exhibitions and tours. This urgently needs to change. Setiawan: What do you see is the best way for change to happen? Kowsik: Through art, design, music, education, and compassion. These are the true connectors. We must move beyond politics of fear and center creativity, truth, and kindness. Museums must employ more people of color and those who actually practice the faiths being displayed, to ensure honest, respectful representation. I believe advocacy and education—especially through art and design—are key to building a more just and compassionate future. Setiawan: What gives you hope for the future? Kowsik: The Divine. Diversity. Love. Creativity. Joy. You can feel hope everywhere—in smiles, in art, music, poetry, in people trying to leave the world better than they found it. Sangeetha Kowsik in North Africa You can follow Sangeetha Kowsik's work at @ihsan_ishan_design and Ihsan Ishan. This interview has been edited for length and clarity. Find Benjamin Liong Setiawan on Instagram: @hungryeditor.
