Acclaimed writer Ed Brubaker talks to Hyperallergic about his new book Bad Weekend, the historical poor treatment of comics creators, and the differences between writing for comics and film.
This week in San Juan, Puerto Rico, police used tear gas against protesters. The identification of the source for this agent might further stoke the flames of a growing crisis at New York’s Whitney Museum.
“After this discovery, what may have started as the Tear Gas Biennial is now the Sierra Bullet Biennial,” a Forensic Architecture researcher told Hyperallergic.
Korakrit Arunanondchai, Meriem Bennani, Nicole Eisenman, and Nicholas Galanin say that the museum has failed to adequately respond to the Warren Kanders controversy. Following the announcement, Eddie Arroyo, Christine Sun Kim, Agustina Woodgate, and Forensic Architecture announced their withdrawal.
This week, world’s largest intact Ancient mosaic, Gordon Parks’s 1961 images of a favela dweller, critic Inga Saffron roasts Stu Bykofsky, huge cache of 1980s noise and post-punk cassettes go online, spaceflight as colonialism, and more.
What remains unspoken in the British Museum’s Love and Angst is the ways Munch’s dark emotions frequently came to target the women in his life.
The new albums by these artists all adapt R&B tropes to their own uses.
In her fiber sculptures, Mrinalini Mukherjee achieved an alchemic relationship between materials and process, fusing abstraction and figuration to indelible effect.
Surprises and puzzles in Venice and Vienna, from Sean Scully to Tintoretto.
Manzoni’s work can be viewed as slight and Herculean, tragic and buoyant, mystical and materialist, minimal and baroque.
Even as some of her works evoke functional objects, Christina Tenaglia is not interested in parody or citation. Their formal strength sets them in their own domain.
Amy Bennett gives us just enough tantalizing visual details to enthrall and mystify, without becoming heavy-handed.
