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The protest movements that began in major cities across the world in the spring of 1968 also marshaled in a wave of graphic design studios inspired by socialist reform. Agitprop by another name, these politically motivated posters intercepted the attention of passersby with brutal imagery and straightforward messages like, “La guerra es la continuación de la política (The war is the continuation of the political).”
Honoring the spirit of 1968, a new exhibition at kurimanzutto in New York includes more than 60 original posters that once covered the streets of Paris and Mexico City that year. The amount of screen-prints, linocuts, stencils, and lithographs that flooded these cities during the protests is staggering. According to the gallery, 500,000 posters covering 400 different topics were produced by students and faculty at Paris’s School of Fine Arts in May alone.
Entitled Posters from ’68. Paris–Mexico, the kurimanzutto exhibition desires to disseminate the radical imagery and ideas of those past revolutionaries through today’s similarly tense political climate, which demands social action in order to rise above political misconduct.
Frey ponders why she felt comfort in television and film content that intellectuals often take pride in dismissing.
What does Rutherford Falls, a new TV series that prominently features two small town museums, tell us about the way people see the contentious stories on display in history and art institutions?
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.
The French television program does a good job exploring how people cope with work-related drama and its impact on relationships.
From European detective dramas to art documentaries, Yau reflects on some highlights from a year inside.
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.