The vagina dialogues: 33-metre artwork draws far right’s ire in Brazil

Juliana Notari’s hillside sculpture sparks clash between Bolsonaro-supporting right and leftwing cultural community

A 33-metre reinforced concrete vagina has sparked a Bolsonarian backlash in Brazil, with supporters of the country’s far-right president clashing with leftwing art admirers over the installation.

The handmade sculpture, entitled Diva, was unveiled by visual artist Juliana Notari on Saturday at a rural art park on the grounds of a former sugar mill in Pernambuco, one of Brazil’s most culturally vibrant states.

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Italy begins year of Dante anniversary events with virtual Uffizi exhibition

Gallery puts seldom-seen Divine Comedy sketches on display online to mark 700 years since poet’s death

Eighty-eight rarely seen drawings of Dante’s The Divine Comedy have been put on virtual display as Italy begins a year-long calendar of events to mark the 700th anniversary of the poet’s death.

The drawings, by the 16th-century Renaissance artist Federico Zuccari, are being exhibited online, for free, by the Uffizi Gallery in Florence.

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Patti Smith: ‘As a writer, you can be a pacifist or a murderer’

As she prepares to ring in 2021 with a performance on screens at Piccadilly Circus, the punk poet explains why she’s optimistic amid the ‘debris’ of Trump’s years in office

Patti Smith talks about her first poetry performance – in 1971 at St Mark’s Church in New York’s Bowery – as if it were yesterday. “I remember everything,” she says over the phone from her home in New York. Smith was in her early 20s, working at a bookshop and living in the Chelsea Hotel with her then lover, the playwright Sam Shepard. She had attended poetry readings before, most of which put her into a deep sleep. “I wanted to do something that wasn’t boring,” she recalls. “Sam said that since I sang to myself all the time, I should try singing a song, or maybe do something with a guitar.” And so she called on the musician Lenny Kaye to provide “interpretative” noises on guitar while she half-read, half-sang her poems.

The show was an instant hit. “It seemed to make a big impression on people – which I really didn’t understand,” she says. The producer Sandy Pearlman approached her afterwards and suggested she front a rock band. She eventually took his advice, making the landmark album Horses in 1975, and an icon of American punk was born.

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Amsterdam gallery owner recalls how sale of Banksy work saved staff jobs

Kim Logchies-Prins tells how employees gathered around canvas, sold for £1.5m, to give thanks

The owner of an art museum in Amsterdam who sold a prized Banksy painting for £1.5m to avoid laying off staff during the coronavirus pandemic has told how her employees gathered around the canvas to give thanks.

Kim Logchies-Prins, co-founder with her husband, Lionel, of the Moco museum of modern, contemporary and street art, said she joined 20 of the office staff to pay respects and say goodbye to Banksy’s Monkey Poison, following its sale to an anonymous US buyer at an auction in New York.

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Myrrh mystery: how did Balthasar, one of the three kings, become black?

They are a Christmas card staple – the three kings who followed a star to the baby Jesus. But one of them caused a revolution in art. We unravel the mystery of the Magi

They came bearing gifts of gold, frankincense and myrrh. This description of the Magi, the three kings or wise men who followed a star to the newborn Jesus, has always given artists plenty of scope to depict ornate boxes, cups and vessels. Paintings show them followed by pages, servants, soldiers and pack animals – an entire royal retinue. Dressed in their finest, making their way across deserts and over mountains guided by a light, these pilgrims to the lowly stable always look magnificent.

Although the Gospel of Matthew does not give individual names to this regal trio, we know them as Balthasar, Caspar and Melchior, thanks to a Greek manuscript from AD500. It was in the middle ages, too, that they were promoted from astronomers to kings. And a text attributed to the Venerable Bede, the historian monk from Northumbria, makes Balthasar black. Despite Bede’s assertion, there are very few images of a black Balthasar before 1400, possibly because medieval Europeans had so little concept of Africans. It was only with the dawning of the Renaissance that Balthasar’s colour began to be emphatically depicted. In fact, the trumpeting, joyous festive subject of “the adoration” inspired some of the richest portrayals of black people in European art.

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The Maradona and child: Naples honours its hero with nativity figurine

A new addition to the Christmas scene in artisan shops shows city’s love for footballer

The southern Italian city of Naples usually enjoys a fervent lead-up to Christmas, with one street in particular – Via San Gregorio Armeno – buzzing with people buying handcrafted cribs and terracotta figurines for their nativity scenes at home.

There is also much anticipation each year over which new figurine they can buy. Traditionally, it was a shepherd or an animal that would join baby Jesus, Mary and Joseph, but now it is usually a figurine of a personality of that year. Recently crafted statuettes include tributes to doctors and nurses who have worked throughout the pandemic as well as ones of the US president-elect Joe Biden and his deputy, Kamala Harris.

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Masked Horses: photographs by Tim Flach

Wildlife photographer Tim Flach’s series Masked Horses speaks to the role of the horse as a companion to humankind over the ages. A disguise, or a protection the images reflect on our current pandemic. Flach’s animal photographs have often been likened to classical portraiture and his portraits of horses wearing gas masks, head protectors, equine inhalers and blindfolds are both captivating and disturbing

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Banksy confirms he created ‘Aachoo!!’ artwork in Bristol

Stencil mural unveiled on side of house shows woman sneezing out her false teeth

Banksy has confirmed he is behind an artwork showing an older woman sneezing out her false teeth which has appeared on a house in Bristol.

The stencil mural entitled “Aachoo!!”, on the side of a semidetached house in Totterdown, had been covered up before its unveiling on Thursday morning.

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Noël Coward’s private lives: the photographs that could have landed him in jail

A newly discovered album contains intimate, joyful glimpses of the playwright drinking, partying and holidaying with his famous friends and lovers. The result is an astonishing insight into gay life in the interwar years

In 1931, Noël Coward was the highest-earning author in the western world, celebrated for his scintillating comedies and sensational dramas of hidden love such as The Vortex, Private Lives and Easy Virtue. As well as writing hit songs, musicals, novels and short stories, he painted and, not least, performed. But perhaps the most astounding thing of all is the fact that – at a time when homosexuality was illegal and would remain so for some time – he lived an openly gay life.

It is this that makes a newly discovered photograph album so extraordinary. It shows intimate glimpses from the private life of this towering cultural figure. Apparently compiled in the 1930s by Coward’s closest female friend, Joyce Carey, the album is a remarkable insight into gay lives of the interwar years, lived in plain sight. Carey died in 1993. It is because of her long-held loyalty to the man she and other intimates only half-ironically called the Master that the album has only now come to light, due to be sold at a London sale room later this month.

Many of the shots were taken at Goldenhurst, Coward’s country retreat in Kent, an extended redbrick farmhouse he bought in 1926. Here, and at more exotic sites, we see the artist and his famous friends at play. They bask in the ancient, faded sunlight, these people whose lives were bookended by two world wars. There’s Lord Mountbatten, fishing – Coward was later to play him in the wartime film In Which We Serve. And here’s Alec Guinness, in smart sunglasses, with his seraphic smile that gave little of his personal life away.

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‘It was a little awkward’ – how Rick Schatzberg shot his old friends topless

They grew up in a ‘nowhere’ suburb in the 70s, smoking skunk, going for rides and dating girls. The photographer reveals why he decided to capture the ravages of time on his old childhood gang

Rick Schatzberg had a dark epiphany a few years back, when two of his friends died in quick succession, one from a heart attack, the other from an overdose. “When two people you know and love die within six weeks of each other,” says the photographer quietly, “you realise that death is not just something that happens to other people, to the unlucky people. It’s something that is suddenly very present.”

Schatzberg’s response was to undertake a project about encroaching mortality – his friends’ and by extension his own. The result, several years in the making, is The Boys, a photobook that is both nostalgic and brutally realistic: a visual evocation of youth in all its instinctive carefreeness; and old age in all its debilitating inevitability. Composed of casual colour snapshots of his male friends in the 1970s, and large-format contemporary portraits of their ageing bodies, it lays bare what the novelist Rick Moody, in his accompanying essay, calls “the sobering action of time”.

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Nazi art dispute goes to US supreme court in landmark case

Heirs of Jewish art dealers bring case over Guelph Treasure that defence lawyers say could open floodgates

A 12-year wrangle over a rare collection of medieval ecclesiastical art sold by Jewish art dealers to the Nazis in 1935 will arrive in front of the highest court in the US on Monday, in a landmark case defence lawyers say could open the floodgates for restitution battles from all over the world to be fought via the US.

The supreme court will hear oral arguments on whether the dealers’ heirs can sue in US courts to retrieve the church reliquaries, known as the Guelph Treasure or Welfenschatz, from Germany.

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A Utah monolith enchanted millions and then it was gone, leaving mysteries behind

For many following the story of the monolith, crucial questions remain unanswered: who made it? What was it for?

In a year of uncertainty and peril, one three-sided mystery metal structure provided a glinting moment of distraction, or even hope – and then it was gone.

Before the public had moved on from the monolith, the monolith had moved on from us.

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The Guardian view on Amazonian cave art: a story about the environment, too | Editorial

Astonishing rock paintings discovered in Colombia hold a lesson for today’s rainforest

In the past week, remarkable images of ancient cave art have hit the headlines: rock paintings made in South America around 12,000 years ago. The art, created on rock faces in the Serranía de la Lindosa, on the northern edge of the Colombian Amazon, is a riot of ochre-coloured geometrical pattern, handprints, and images of animals and humans. Until recent excavations, the works of art had been unknown to the international community. Their exuberant creativity will soon be revealed to a broad audience in the UK thanks to the Channel 4 series Jungle Mystery: Lost Kingdoms of the Amazon.

The people who made these works of art were, it is believed, among the earliest humans to occupy the region, after migrations across what is now the Bering Strait some 25,000 years ago. Preliminary study of the iconography of the art has led scholars to speculate that among the deer, tapirs, alligators, bats, serpents, turtles and porcupines, long-extinct megafauna are also represented: mastodons, American ice-age horses, giant sloths, camelids.

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From Martha Washington to Melania Trump: 250 years of first lady portraiture

Portraits of presidents’ wives have evolved with the role, and although it remains highly gendered, a new exhibition aims to celebrate their contribution and to ‘rectify the absences of women in US history’

Bess Truman, US first lady from 1945 until 1953, has not become the sort of historical figure people quote on Instagram. “A woman’s public role is to sit beside her husband, be silent, and be sure her hat is on straight,” she said, even though, behind the scenes, she was nicknamed “the Boss” and wrote many of President Truman’s speeches.

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‘It can be uncomfortable’: how a New York farmhouse is facing its racist past

In a new exhibition, three artists reckon with the history of slavery at the Dyckman Farmhouse Museum with a range of challenging pieces

When people think of buildings in Manhattan, chances are they think big and brash, cloud-piercing skyscrapers for tourists to marvel at.

But the borough is also home to the far more modest Dyckman Farmhouse, a white clapboard home built in 1765. It’s the oldest farmhouse in the city, and just off 204th Street in Inwood, once home to Dutch farmer William Dyckman, his family and their slaves.

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Muhammad Ali flattens Cleveland Williams: Neil Leifer’s best photograph

‘I gambled on Ali getting a knockout, fastening my camera to the lights way above the ring. And Williams landed flat on his back in a good spot’

Everyone assumes the picture I took of Ali v Liston in 1965 is my favourite – it has even been called the greatest sports photograph of all time. But my favourite photograph I ever took is Ali v Williams, no question about it. It’s the only one of my photographs hanging in my home. I’ve shot everything in my career, from Charles Manson to the pope, but I’ve never taken a better photograph than this.

I shot 35 of Ali’s fights. I was ringside for Sports Illustrated when he won the world title in Miami in 1964 and my photo for that made the cover, so by the time of the Cleveland Williams fight I was pretty well established. Williams was a very promising heavyweight but the underdog; the main thing I remember from that night was how excited I was about how I was going to shoot it. Putting a camera over the ring goes way back, maybe to Joe Louis’ days, certainly Sugar Ray Robinson. But the lights that lit up those fights were always 20-25ft over the ring and there was no lens wide enough to capture the whole scene; photographers used fisheye lenses so the ring never quite looked square.

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Russian museum director who exposed Soviets to hidden masterpieces dies at 98

Irina Antonova, head of Pushkin Museum for 52 years, brought Mona Lisa to Moscow despite cold war

A longtime museum director dubbed the grande dame of the Russian art world has died at 98, prompting an outpouring of grief and admiration for the woman who brought the Mona Lisa to Moscow and returned masterpieces hidden for decades from the Soviet public to her museum’s exhibition halls.

Irina Antonova, whose work at the Pushkin Museum began under Joseph Stalin and ended under Vladimir Putin, died on Monday evening of complications from the coronavirus. Her death was confirmed by the press service of the museum, where she served as director for 52 years from 1961 to 2013.

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