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After a two weeks on the road, I’m back in Brooklyn and again at the helm of Hyperallergic.
A special thanks to John D’Addario, who took over during my work trip to Armenia and the French Alps.
Expect a few posts on my time in Armenia — sadly, my free time in the Alps focused on the culinary rather than the visual arts — with some thoughts on museums and visual culture in the small mountainous republic in the Caucasus.
I also want to mention that the last two weeks was a fascinating time for me in that it was the first time that Hyperallergic was edited by another person, which allowed me to experience the publication more as a reader would. I hope to use some of what I observed to improve the way we engage with you our audience. As always, if you ever have any suggestions for anything we do please drop us a line over at our CONTACT US form.
Onwards and upwards.
One hundred years after Mary Hiester Reid’s death, Flower Diary recovers the elusive, overlooked artist’s life and work
An exhibition of cabinet cards at LACMA showcases marketing and personal panache.
Over 50 years of the artist’s video and media work on how images, sound, and cultural iconography inform representation is on view through December 30.
Most eye miniatures were exchanged between lovers, though they were also given to close friends and family members.
In honor of National Hispanic Heritage Month, exhibitions on irises in art history, LGBTQ Pride, and more have been translated.
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.
“The impossibility of reforming Tony [Soprano] bears some resemblance to the crisis plaguing museums and toxic philanthropy today, where a culture of bullying and exploitation belies programming of socially- and politically-engaged art.”