The Department of Homeland Security has drawn criticism for posting historical artworks on social media that allegedly represent American greatness, including a controversial 1872 painting that depicts the forced displacement of Native Americans. Meanwhile, an Australian university is facing significant backlash from students over a new course focusing on artificial intelligence in art creation.
Since Donald Trump began his second term in office, the Department of Homeland Security has been using its social media platforms to share artworks that supposedly celebrate American achievements. This practice has upset several parties, including the Thomas Kinkade Foundation, which is considering legal action over the unauthorized use of the artist's work. The most controversial post featured "American Progress," an 1872 oil on canvas painting by John Gast, a German immigrant who created an allegorical representation of Manifest Destiny.
The painting, measuring 17 9/16 by 21 1/2 inches and housed at the Autry Museum of the American West in Los Angeles, shows Native Americans being forced out of the frame as westward expansion progresses. Stephen Aron, director of the Autry Museum, provided context for the artwork's problematic messaging. "I don't know of any current American history textbook that would present American Progress as an accurate account of westward expansion," Aron explained, describing the work as representing "one of the ways 19th-century white Americans wished to imagine it."
Across the Pacific, the University of New South Wales in Australia is dealing with its own controversy surrounding a course called "Generative AI for Artists." The class, taught by Oliver Brown, has generated intense opposition from the student body, with fine arts student Robyn launching a petition demanding the course's cancellation. The petition has garnered more than 7,000 signatures, according to reports. Brown himself acknowledged the difficulties he has faced, stating that he has encountered "a layer cake of nightmares" since the course was listed.
Despite the overwhelming student opposition, the university continues to defend the controversial course. A school spokesperson told media outlets that Brown would provide "a thoughtful integration of his subject" and ensure that students are "well-equipped to navigate an increasingly AI-integrated world." The institution appears committed to maintaining the course despite the significant student pushback.
In other arts-related news, organizations and galleries throughout New South Wales, Australia, received welcome relief when the state government announced $15.4 million in funding over two years, addressing concerns about a potential crisis facing regional galleries in the region. The announcement has been met with enthusiasm from arts communities who had been worried about their financial sustainability.
Celebrity involvement in the arts world continues to make headlines, with actor and comedian Steve Martin backing a new movie that traces the origins of the Western Desert art movement. Martin's interest in the project extends beyond mere celebrity endorsement, as he owns more than 100 Aboriginal artworks, giving him significant personal investment in the subject matter.
The momentum for Indigenous art appears to be building internationally, with exhibitions at prestigious venues like Tate Modern and Fondation Opale, along with Frieze Week presentations featuring artists Tony Albert, Robyn Kahukiwa, and George Tjungurrayi. These developments signal what experts are calling "a decisive shift in the UK" toward greater recognition of Indigenous artistic contributions.
The world of cultural criticism is also experiencing significant changes, following recent upheavals at major publications. A few months ago, The New York Times caused controversy by reassigning four critics to new roles, prompting widespread discussion about whether art criticism was under attack. Now The Guardian has joined the conversation with an article titled "The death of the review? Cultural criticism is at risk of erasure," highlighting broader concerns about the future of arts journalism.
At the Burning Man festival in Nevada, nature demonstrated its power over art when hurricane-force dust storms destroyed an installation by artist Oleskiy Sai. The work, titled "Black Cloud" (2025), was a 100-foot-tall inflatable structure that towered above festival-goers until heavy winds snapped it in two. However, the artist plans to rebuild the piece, with producer Vitaliy Deynega expressing hope about the project's broader significance. "Everyone already knows that we have a war, but I want the world to see Ukraine as a country that can make beauty and can make art and that's why we're surviving," Deynega stated, connecting the artwork to Ukraine's current struggles and resilience.
