\t\tThe Headlines\t<\/p>\n
\n\tHIGH STEAKS, HIGH SEAS. Greenpeace<\/strong>\u00a0activists have climbed a gas rig in the North Sea and unfurled a 315-square-foot, crimson-stained canvas down its side, in a dramatic protest created in collaboration with artist\u00a0Anish Kapoor<\/strong>. The installation is believed to be the first artwork ever displayed on an active gas extraction platform. \u201cI call it Butchered,\u201d the British sculptor told\u00a0the Guardian.<\/a>\u00a0\u201cIt represents the butchering of our environment. At its core, it\u2019s blood on a canvas\u2014a symbol of the destruction, the bleeding, of our planet and our very state of existence.\u201d The protest took place early Wednesday after Greenpeace activists, having waited for ideal weather, approached the Shell-operated Skiff rig aboard the Arctic Sunrise, 45 nautical miles off the coast of Norfolk.<\/p>\n \t\tRelated Articles<\/p>\n \t\t\t\t\t\t \n\tUNCOMFORTABLE TRUTHS.\u00a0<\/strong>As\u00a0Breakfast With ARTnews\u00a0noted earlier this week, London\u2019s\u00a0Imperial War Museum<\/strong>\u00a0has been criticized for refusing to change an information board in its\u00a0Holocaust Galleries<\/strong>\u00a0that two eminent historians say is incorrect.\u00a0The Spectator<\/a>\u00a0has now weighed in, writing that while the \u201cinaccuracy\u201d relating to the\u00a0Nuremberg race laws<\/strong>\u00a0passed by the\u00a0Nazi regime\u00a0<\/strong>in\u00a0Germany\u00a0<\/strong>in 1935 may seem like a minor detail, it is a serious misrepresentation\u2014and one with significant consequences. \u201cIt reflects a growing pattern of soft Holocaust distortion\u2014not outright denial, but something subtler, a steady sanding down of uncomfortable truths,\u201d the magazine writes.<\/p>\n \t\tThe Digest\t<\/p>\n \n\tAn international team of researchers, led by\u00a0Yamagata University\u00a0<\/strong>in Japan and\u00a0IBM<\/strong>, in partnership with Peruvian experts, has announced the discovery of 248 newly identified geoglyphs among the renowned\u00a0Nazca Lines<\/strong>. [The Art Newspape<\/a>r]\u00a0<\/p>\n \n\tIn a new piece for the\u00a0Financial Times,\u00a0Julia Fawcett<\/strong>, CEO of the\u00a0Lowry<\/strong>\u00a0arts center in Manchester, U.K., makes the case for why immersive art is more than an \u201cunimaginative\u201d \u201cmoney grab\u201d that pulls funding and audiences away from \u201creal\u201d art. [FT<\/a>]<\/p>\n Patients at\u00a0London\u2019s Royal Bethlem<\/strong>\u00a0psychiatric hospital were once \u201cgawked at\u201d by the public, but now they\u2019re being praised for their art. [The Times<\/a>]<\/p>\n A new research project conducted by academics at the University of Toronto and the University of Bristol attempted to train an AI model to emulate human responses to famous artowrks. [The Economist<\/a>]<\/p>\n \t\tThe Kicker\t<\/p>\n![\"Painting](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/08\/Screenshot-2025-07-02-at-12.44.49.png\")
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