return ctx.regex.email.test( $email.val() ); if(valid){ Want to stay ahead of the art world? googletag.pubads().setTargeting("width", w), googletag.pubads().setTargeting("height", h), 1 == isnewsletter && googletag.pubads().setTargeting("isfirstpage", ['Y', pagetypeforce] ) (function defernl() { Hollywood Africans, a 1983 painting from the Whitney Museum, is a compendium of all-capped words that relate to the title, usually via some kind of political take on the subject: “SUGAR CANE INC.,” “TOBACCO,” “WHAT IS BWANA?”. } + '

Get hand-picked stories from our editors delivered straight to your inbox every day.<\/p>' function slideInModal(upOrDown) { // dataType: 'json', ctx.customSerializer(); © Estate of Jean-Michel Basquiat. Courtesy The Brant Foundation, Greenwich, Connecticut. $('body').on( 'click', '.close-signup', function(){ slideInModal('Down'); Please try again later.' } //default prefix is 'artnet_newsletter_' Jean-Michel Basquiat, Per Capita (1981). // ------------------------------------------------------------------- + '<\/div>'; Government statistics and Hollywood movies depended on ideas and images of blackness—and of society in general—that didn’t necessarily map onto what black lives were really like. A piece called Museum Security, from that same moment, overflows with accusatory words like “RADIUM,” “ASBESTOS,” and “HOOVERVILLE.” All three paintings remind me of the biting lists that Hans Haacke compiled of a slumlord’s real estate holdings, or of the corporate entanglements of the Guggenheim Museum’s trustees. email: /^([a-zA-Z0-9_\.\-])+\@(([a-zA-Z0-9\-])+\. Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. } // Signup submission expiration_minutes: 5 o[this.name] = [o[this.name]]; if (!window.jQuery) loadJQuery(); // Submit the form + '