Thermal Schmiede Familie dana schutz's open casket Vegetarier die meisten Kostüm
Dana Schutz - SECAC
The Misguided Empathy of Dana Schutz's 'Open Casket'
Dana Schutz's Right to Make Art | The Nation
Open Casket' and the Question of Empathy
How the Dana Schutz Controversy—and a Year of Reckoning—Have Changed Museums Forever | Artnet News
Reminder: The Review Panel, April 4, at Brooklyn Public Library - artcritical
Unpacking the Whitney Biennial's “Black Death Spectacle” and Dana Shutz's “Open Casket” - Artsy
After the Quake, Dana Schutz Gets Back to Work - The New York Times
Dana Schutz's “Open Casket”: A Controversy around a Painting as a Symptom of an Art World Malady | Spike Art Magazine
The artist Parker Bright protesting Dana Schutz's work Open Casket at the Whitney Biennial | Walker art center, Institute of contemporary art, Walker art
Kontroverse um „Open Casket“ von Dana Schutz: Im Leid geteilt - Kultur - Tagesspiegel
Open Casket Artist Defends Emmett Till Painting
Open Casket" Art Controversy by amber nicole
Dana Schutz | Art News by Kooness
Protesters Demand Emmett Till Artist Dana Schutz Be Banned in Boston
George Baker on painting, critique, and empathy in the Emmett Till / Whitney Biennial debate
What Does It Mean to Be Black and Look at This?” A Scholar Reflects on the Dana Schutz Controversy - Hyperallergic
Censorship, Not the Painting, Must Go: On Dana Schutz's Image of Emmett Till
Black artists protest Emmett Till painting by white artist | Dazed
Why Dana Schutz Painted Emmett Till | The New Yorker
Behind the Controversy: Dana Schutz at the ICA — Abigail Ogilvy Gallery
Painter Dana Schutz Is Now Represented by David Zwirner – ARTnews.com
Dana Schutz's “Open Casket”: A Controversy around a Painting as a Symptom of an Art World Malady | Spike Art Magazine
After the Quake, Dana Schutz Gets Back to Work - The New York Times
Dana Schutz: Weathering the Storm | | Flash Art
Activists To ICA: 'Pull The Show' Of New York Artist Behind Controversial Emmett Till Painting | WBUR News
Why Dana Schutz Painted Emmett Till | The New Yorker