An Ohio University senior who worked a part-time job at a local Sherwin-Williams store was fired after the company discovered his popular paint-mixing TikTok channel @tonesterpaints, which currently has over 1.2 million followers.
Tony Piloseno said that for months he’d been pointing to his viral account as an example of what Sherwin-Williams could do on social media and by marketing its brand to a younger audience.
But instead it led corporate personnel to investigate his social media account, and they ultimately fired him after determining he was making “these videos during [his] working hours” and with company equipment.
According to termination papers Piloseno provided to BuzzFeed News, the official offense the company handed down to him was “gross misconduct,” which included the offenses of “wasting properties [and] facilities,” and “seriously embarrass[ing] the Company or its products.”
“They first accused me of stealing — I told them I purchased all my paint,” he said. “They made me answer a bunch of questions like when I was doing this, where, if there was anyone in the store while I was doing [filming]. There was never anyone with me while I doing it.”
On Tuesday, New Yorkers commuting through the Atlantic Avenue-Barclays Center subway station will find it transformed with vibrant portraits of Black, Asian and Pacific Islander people along with anti-discriminatory messages like “I did not make you sick” and “I am not your scapegoat.”
The series is the work of the neuroscientist turned artist Amanda Phingbodhipakkiya (pronounced PING-bodee-bak-ee-ah). In August, Ms. Phingbodhipakkiya was named a New York City Public Artist in Residence through a program that has partnered artists with city agencies since 2015. She is one of two artists currently embedded with the city’s Commission on Human Rights, which invested $220,000 in this campaign.
Ms. Phingbodhipakkiya’s “I Still Believe in Our City” series was created as a response to a grim statistic. From February to September, the Commission received more than 566 reports of discrimination, harassment and bias related to Covid-19 — 184 of which were anti-Asian in nature. It’s a troubling spike not just appearing in New York, but in Asian-American communities across the country.
“My goal with this art series was to turn these hurts into something beautiful and powerful,” Ms. Phingbodhipakkiya said in a phone interview. She added, “I really wanted to find a way to say, despite everything we have faced as Asian-Americans and New Yorkers, that I still believe in New York.”
From Nov. 3 to Dec. 2, the series of 45 pieces will be displayed in the Atlantic Terminal in Brooklyn, a central hub that serves a diverse group of commuting New Yorkers. Ms. Phingbodhipakkiya said that it was also the site of a reported, Covid-related bias incident in March, when a 26-year-old Asian-American man reported he was spat on.
A description of that incident has been included in one of the pieces, alongside portraits of Asians and flowers that Ms. Phingbodhipakkiya said have symbolic meanings in Chinese and East Asian cultures. Other panels offer information and historical context about the Chinese Exclusion Act of 1882 and statistics about Asian-owned businesses.
An Austrian tourist is in hot water with museum officials in Italy after accidentally breaking the toes off of a 200-year-old statue while posing for a photo.
The incident occurred on July 31 at the Gipsoteca Museum in Possagno when he sat on Antonio Canova’s statue of Paolina Bonaparte, causing two toes to break off of the plaster sculpture, the art gallery said in a statement.
According to the museum, the tourist quickly moved away from the exhibit without telling anyone, and staffers were only alerted of the damage after an alarm in the room went off.
The tourist was tracked down by police using personal information the guest had left with the museum for contact tracing in the event that a coronavirus outbreak is tied to the gallery, CNN reported.
Police told the outlet that the man was with eight other Austrian tourists and broke away from the group to take a picture of himself “sprawled over the statue.” Security camera footage also captured the tourist jumping onto the base of the sculpture to get the selfie when he snapped off part of the artwork.
The 59th edition of the Venice Biennale, formerly scheduled for 2021, has been postponed to the following year. The international art show’s next iteration will now run for seven months, from April 23 to November 27, 2022, overlapping with the 15th edition of the contemporary art quinquennial Documenta in Kassel, Germany.
Cecilia Alemani, chief curator of New York City’s High Line, was tapped to curate the 59th Biennale. Among the confirmed names for the show so far are the multimedia artist Stan Douglas for the Canadian Pavilion; Latifa Echakhch for the Swiss Pavilion; and Zineb Sedira, the first artist of Algerian descent to represent France at the biennial.
The Los Angeles Times reported that a local charitable organization, the W.M. Keck Foundation, offered a $50 million pledge to the project this week, bringing the total commitments to $640 million out of the needed $750 million.
Greg Goldin, a Los Angeles-based critic and architectural historian, heads up the Citizens’ Brigade to Save LACMA. In a conversation with AN, he said the group was dismayed by the Keck Foundation’s choice to donate to the LACMA building fund. Goldin thinks it’s possible that the philanthropy organization doesn’t know what it’s actually paying for. “We don’t know what the board of trustees at the Keck Foundation has seen versus what the public has seen in terms of visuals or building plans,” he said. “If they haven’t seen something other than the absurd renderings released to the world, then they’ve voted on this decision in complete darkness. They’re giving $50 million to what?”
Cattelan himself has offered no direction on how to interpret the work, but MrPerrotin previously told CNN the bananas are “a symbol of global trade, a double entendre, as well as a classic device for humour”.
The installation has fast become one of the most talked-about works at this year’s Art Basel, with several viewers lining up to take selfies with the piece. One passerby was heard declaring the work “the best of the show”. However some art fans were less than impressed, with one, Weezie Chandler, telling local media: “You can do anything and once you’re established you can get away with it.”
The gallery said Cattelan spent a year working on the piece and had originally envisioned a sculpture shaped like a banana.
“Every time he travelled, he brought a banana with him and hung it in his hotel room to find inspiration. He made several models: first in resin, then in bronze and in painted bronze,” the gallery said in a statement.
Ultimately, the gallery said, Cattelan decided a real banana was the perfect fit.