When most people are bored at work, they surf Facebook. Not so with Francesco Fragomeni and Chris Limbrick, two employees at the website creation startup Squarespace. On a particularly slow day at the company’s Midtown Manhattan office last month, they funneled their creative energy into a photographic homage to Michelangelo’s fresco “The Creation of Adam.”
Pleased with the wonderfully awkward result, they have embarked on a series of photographs taken with a cell phone and dubbed Fools Do Art. Using props found around the office and allegedly only working during breaks from their actual work, Fragomeni, Limbrick, and their fellow employees are taking on the masters of the Western canon. From Rembrandt to Frida Kahlo, no artist is too sacred to escape their tribute.
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.