Support Hyperallergic’s independent arts journalism.
On Wednesday, January 30, the International Center of Photography (ICP) will screen Andrea Pritchard’s new documentary, Rise: Women on the Frontline, featuring “conflict photojournalists” Alexandra Avakian, Carol Guzy, and Yunghi Kim. Afterwards, Pritchard, along with Avakian, Guzy, and Kim, will discuss the film and “their experiences covering tension and unrest.” Indira Williams Babic, director of photography and visual resources at Newseum in Washington, DC, will moderate the discussion.
Risk: Women on the Frontline provides meaningful insight on the work of women photojournalists, illuminating their struggles and reasons for returning. The ICP’s website describes the film as “An intimate portrait about a select group of storytellers.”
When: Wednesday, January 30, 7–9pm
Where: International Center of Photography, ICP School Shooting Studio, 1114 Avenue of the Americas, Lenox Hill, Manhattan
While staying as a house guest, a naked Le Corbusier defiled Gray’s minimalist, color-blocked walls that were only restored in 2015.
Keep your friends close and your bad art friends closer.
Hear from Holly Jean Buck, Carolina Caycedo and David de Rozas, Simon Denny, Elizabeth Hoover, Renee Kemp-Rotan, Joseph Kunkel, and more at this free public event.
In his new book, Tyler Green argues that landscape was Emerson’s method of glorifying territories shaped and bordered by white men.
“The 52-hertz Whale,” which sings a song at a frequency no other whale uses, is a social media phenomenon. But this film shows that the phenomenon says more about us than whales.
EFA Open Studios offers a portal into the creative habitats of over 65 artists working in Manhattan’s longest-running studio program, including Dannielle Tegeder, Wafaa Bilal, Cui Fei, and Anina Major.
The unvarnished photographs celebrate the lives, beauty, and resilience of an oppressed group at Chile’s social peripheries in the 1980s, and the series was recently acquired by MOCA in Los Angeles.
51 international publishers and galleries showcase their latest editions in prints and artists’ books at this free public fair, which is fully online this year.
The University of Virginia researchers wrote that the data “provides compelling evidence that these symbols are associated with hate.”
We are waiting for spectacle and when the quotidian, yet incongruous actions occur I wonder whether there is any real payoff coming.
Tanega’s approach to mark-making comes across as stream of consciousness, as if she’s engaged in a conversation with herself.