In light of the recent censorship removal of an ant-covered Jesus video by the Smithsonian Museum, we wanted to make one thing clear and we couldn’t think of a better way to do it then with Johnny Phoenix’s “A Note to All the Indigenous People Everywhere” (2010) at McCaig-Welles Gallery, which is on view at Fountain Art Fair.
Hrag Vartanian is editor-in-chief and co-founder of Hyperallergic. More by Hrag Vartanian
Protesters demanded that the New York City institution sever ties with donors financially connected to Israel.
Artists and activists from various groups chanted, “Netanyahu, what do you say? How many kids did you kill today?”
A founding member of Turkish contemporary art space SALT, Demir brings to NYUAD her training in non-Western modernism and commitment to global contemporary art and cultural production.
This week, a giant sand maze in Miami, how to free yourself from big tech, Eric Adams’s bad luck streak, the fringe benefits of near-sightedness, and more.
Comprising thousands of pieces of Favrile glass, the 20-foot installation shares a common language with the era’s Impressionist paintings.
Engage in experimental and intersectional research-based art-making at UF’s School of Art + Art History.
While painting on canvas often slows life right down, paper works were frequently the stuff of sketchbooks, not necessarily labored over in some studio.
Portraits by Caledonia Curry (aka Swoon) reveal the connectedness of bodies, psychological landscapes, landforms, and built environments.
Explore new directions in your work with artists from around the world while being inspired by studio spaces and facilities in the Canadian Rocky Mountains.
While the world is burning outside the ephemeral veneer of this week, artists at NADA, Untitled, and Ink Miami explore intimacy, femininity, and Latinidad.
Josiah McElheny’s latest sculptures reject traditionally idealized forms in favor of the imperfect.
