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times square statue thomas j price statue debate

A 12-foot-tall bronze statue of a Black woman by British sculptor Thomas J. Price, titled *Grounded in the Stars* (2023), has been installed in Times Square, sparking a polarized public reaction. Online, conservative commentators and social media users have labeled the work a sign of a "very sick society" and a "death of civilization," with racist AI-generated and Photoshopped images circulating. In person, the sculpture has drawn both affirming responses—such as a Black woman mimicking its defiant pose—and disrespectful acts, including a white man groping the statue's buttocks for a photo. The work, which stands near permanent monuments to white male figures, will be on view until June 17.

the gallerist sundance review natalie portman jenna ortega

The Gallerist, a new satire directed by Cathy Yan, premiered at the Sundance Film Festival. The film follows struggling gallerist Polina Polinski (Natalie Portman), who is betting everything on a one-artist debut at Art Basel Miami Beach. After an obnoxious art influencer, Dalton Hardberry (Zach Galifianakis), dies accidentally by impalement on a sculpture titled The Emasculator, Polina and her assistant Kiki (Jenna Ortega) conspire to pass off his corpse as part of the artwork, duping wealthy clients. The ensemble cast also includes Catherine Zeta-Jones as a legendary dealer reminiscent of Marian Goodman, Da'Vine Joy Randolph as the earnest artist Stella Burgess, and Sterling K. Brown as Polina's ex-husband.

Natalie Portman tries to sell a corpse and film-makers traffic in art-market stereotypes in The Gallerist

Cathy Yan's new black comedy caper *The Gallerist*, which premiered at the Sundance Film Festival, follows Miami-based dealer Polina Polinski (Natalie Portman) as she tries to sell a corpse impaled on a sculpture during Art Basel Miami Beach. The film, co-written by Yan and James Pedersen, features a cast including Da'Vine Joy Randolph, Zach Galifianakis, Jenna Ortega, Charli xcx, and Catherine Zeta-Jones, and leans heavily on art-world stereotypes for its farcical humor.