Most of our earliest experiences of art are forged at museums. In this episode artist Kent Monkman recounts his own youth visiting institutions that didn’t reflect the lived reality around him and his Cree community in Winnipeg.
Since those formative years, Monkman has become an important voice in contemporary art who challenges the histories told inside the hallowed halls of museums, pushing them to reflect the complexity of the world around them. He is an artist who teaches us to imagine the world we want to see, one that refuses to erase the stories of pain, but instead uses them to portray the power of resilience and future possibilities.
This is the first in a four-part series by Hyperallergic in conjunction with the Gardiner Museum and its Community Art Space, a platform for experimentation and socially-engaged art. The series explores the role of museums, ceramics, and the stories they tell.
This and more in our current episode of our weekly Art Movements podcast.
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Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.
Crys Yin’s subject is grief, which, for all that takes place in public, is largely a private matter.
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.
With her clay relief sculptures, Brie Ruais probes the exit wound and its deep psychological implications.
In Doomscrolling, Rob Swainston and Zorawar Sidhu assume the task Walter Benjamin set for the articulation of history — to “seize hold of the past as it flashes up at a moment of danger.”
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
When we honor King publicly, as many in the art circle did on Monday, we use these moments to do more than just remember and pay tribute.
A study that reexamined Homo sapiens fossils found our species is 30,000 years older than previously believed.
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The banana’s dominance and ubiquity has had serious and far-reaching implications for the region, engendering exploitative labor systems, climate change, and migration.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.