“A group of more than ten adult men surrounded a boy of maybe 14 to 16 years old and started to punch him laying on the ground when [Gleb] Garanich intervened,” Andrew Kravchenko, another photographer, told Hyperallergic.
The free-to-attend Black Portraiture[s] conference will focus on the creation of visual archives in the context of landmark moments in Black history.
The Museum of the Bible, founded by the owners of arts-and-crafts store chain Hobby Lobby, will turn over biblical fragments it had acquired from an Oxford professor.
The rivalry between the political opponents was cemented after Cuomo announced he would bypass the mayor and fund the polarizing Mother Cabrini statue with state money.
In a sprawling new photography exhibition at the Ryerson Image Center, the joy of self-definition offers its own form of resistance.
At the forum, the collective Chimurenga will install its Pan African Space Station for a three-day broadcast that explores the participation of African American artists, activists, and intellectuals in FESTAC ’77.
Scream Queen features artists who employ horror tropes or aesthetics to explore queerness.
In this exhibition, the artists explore pain and pleasure, and the redemptive possibilities of healing. On view through November 17, 2019.
Carrie Ahern’s Sex Status 2.0 is a performance of desire in all of its expressions — anguished, flirty, direct, sorrowful, desperate, awkward, joyous — and, as such, essential viewing.
Three new HBO documentaries probe the stories of the Statue of Liberty, the Bronx, and the Apollo Theater.
Our poetry editor, Wendy Xu, has selected one poem by sam sax for her monthly series that brings original poetry to the screens of Hyperallergic readers.
This large-scale, bi-color acrylic installation, by New York-based Uruguayan artist Marta Chilindrón, debuts at the University of Houston System temporary public art program.
