. Guggenheim Museum in New York witnessed an unexpected performance on February 9th. Dozens of activists who had been summoned by social media unfolded four red banners from the Guggenheim’s corkscrew balconies. In big black letters they read: “400,000 dead”, “200 dead each day”, “Shame on Sackler” and “Take down their name”. A cloud of white confetti was hurled from the top of the rotunda, each piece of paper a medical prescription.
A few days after the Guggenheim protest, the campaign came to London. Ms Goldin told the National Portrait Gallery that she would boycott a prestigious retrospective of her work if the museum accepted an offer of £1m from the Sacklers. By March 25th the Museum of South London had returned a gift from the family. . Ms Goldin threatened that another London gallery, widely believed to be the Victoria & Albert Museum , would be the target of her next protest.
Small provincial museums have often dealt with the financial squeeze by cutting costs. But national ones have moved towards the American model, by soliciting donations from private and corporate donors—“a way for the rich to launder their souls”, as one director cynically puts it. America’s large museum boards reflect that country’s tax breaks for charity and its tradition of giving to local institutions. In Britain, by contrast, the circle of major donors is tiny. One chair of a museum in London counts no more than eight big donors. The most important is Len Blavatnik, an industrialist born in Ukraine, who responded in 2017 when Tate Modern found that its new Switch House extension had left it with a £30m funding shortfall.
really wish her good luck day?economic
Nothing is actually even that worthy besides the air we breathe in this country. Duh! Love can make A landmass