Venice Biennale: A Silent US Pavilion

Biennale de Venise : un Pavillon US silencieux

The US Pavilion at the 2026 Venice Biennale, featuring artist Alma Allen, opened to sparse crowds despite a 10% overall attendance increase at the Biennale. The pavilion was embroiled in controversy before opening: Allen was selected by the American Arts Conservancy (AAC), a private entity created in 2025 at the initiative of Donald Trump after the dissolution of the federal committee that previously oversaw the pavilion. AAC head Jenni Parido, a former pet food executive, chose the self-taught, little-known artist who had never had a solo museum exhibition. Major funders the Ford and Mellon Foundations withdrew, forcing the AAC to launch a public donation appeal. The exhibition features 25 abstract bronze, stone, and burl-wood sculptures that the artist describes as biomorphic landscapes, but critics find them pleasant yet silent, lacking the promised political or visceral resonance.

US artist takes stage in Venice exhibition

U.S. artist Alma Allen, a self-taught sculptor based in Mexico, has mounted an exhibition titled "Call Me the Breeze" at the U.S. Pavilion for the Venice Biennale after a fraught selection process. The process, which removed language on diversity, equity, and inclusion in favor of promoting "American values," caused several institutions to withdraw from vying for the commission. Allen created a bronze evil eye for the pavilion's exterior to ward off bad vibes, and his show includes a dozen new works alongside pieces from the last 20 years. The prior proposal for artist Robert Lazzarini fell apart after its institutional sponsor backed out, leading to a new project with the American Arts Conservancy as sponsor and Jeffrey Uslip as curator.

Venice Biennale 2026 Roundup

The 61st Venice Biennale, titled "In Minor Keys" and curated by the late Koyo Kouoh, opened in May 2026 amid significant turmoil. The Austrian Pavilion features Florentina Holzinger's performance piece "Seaworld Venice," centered on a giant bell that chimes hourly. The biennale has been marked by the death of its curator, the resignation of the international jury over the inclusion of Russia and Israel, protests by Pussy Riot and the Art Not Genocide Alliance, and the cancellation of the South African Pavilion over Gabrielle Goliath's "Elegy," which honors murdered women including a Palestinian poet. The US Pavilion's state-sponsored offerings have also drawn criticism.

Isamu Noguchi was never a designer, affirms High Museum of Art, Atlanta

The High Museum of Art in Atlanta presents "Isamu Noguchi: 'I am not a designer'," the first design retrospective of the Japanese-American sculptor in 25 years. Co-curated by Monica Obniski and Marin R. Sullivan, the exhibition features nearly 200 objects, including sculptural models, furniture for Herman Miller and Knoll, Akari light fixtures, and large-scale installations like Martha Graham's stage set for "Seraphic Dialogue" (1955). The show challenges Noguchi's own resistance to categorization by framing his multidisciplinary practice—spanning sculpture, design, architecture, and public art—through a design lens.

US SCULPTURES AMID CONTROVERSY AT THE VENICE BIENNALE

The United States Pavilion at the 61st Venice Biennale features sculptor Alma Allen's exhibition "Call Me the Breeze," which opened with no clear funding just ten days prior. Unlike previous pavilions supported by major foundations like Ford and Mellon, Allen's show relies on a $375,000 US government contribution and public donations via the American Arts Conservancy. The selection process was unconventional: the State Department, which took over after Trump's NEA budget cuts, imposed restrictions on DEI policies and required proposals promoting "American exceptionalism." Curator Jeffrey Uslip directly approached Allen without a formal proposal, leading the artist's two galleries—Olney Gleason and Mendes Wood DM—to drop him when he accepted the commission.