The month of June is a time to celebrate LGBTQ communities. It’s a time to reflect on the rich history and culture of the queer community, commemorating advances made in the realm of civil liberties and beyond. This year, as the COVID-19 pandemic continues, many queer individuals are navigating greater risks to their health, safety, and livelihoods. Around the world, Pride marches and celebrations have been moved online, postponed, or canceled entirely.
Cognizant of the need to stay connected and elevate queer voices amid a climate of uncertainty, Hyperallergic is commemorating Pride Month by featuring one queer art worker per day on our website and asking them to reflect on what this time means to them. This series is meant to build on last year’s Queer Artists in Their Own Words.
We encourage queer artists, curators, arts educators, filmmakers, programmers, conservators, and administrators from across the art world to join us.
P.S. While you’re here, we’re always looking for more submissions for our ongoing View From the Easel series. Click here to learn more about how to submit to our quarantine edition.
The committee’s main responsibilities will be to shape policy goals, stimulate arts philanthropy, and advocate for the expansion of federal backing of the cultural sector.
Some museumgoers pointed out that the museum’s label omitted discussions of HIV/AIDS, which are at the heart of the work.
Featuring over 70 installations and performances at the George Washington University’s historic Flagg Building, the Corcoran’s end-of-year showcase is now available for virtual viewing.
But a museum in Harvard is still named after a member of the disgraced family, notorious for its role in the opioid crisis.
Parker’s stories bring so many of her works alive, give them meaning, and make us warm to her and to them. Is that a problem?
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
The works, and worlds, on display in Hancock’s exhibition seem saturated with a desire for narrative redemption through self-observation and aspects of his Christian upbringing.
The problem with Andrew Dominik’s biopic Blonde is its assumption that Monroe’s victimization was the most fascinating thing about her.
When I recently came across Sandra Cattaneo Adorno’s photo book Águas de Ouro, I could hear the waves and boomboxes, and even taste the salt on my lips.
Works by over 70 artists of the pan-South Asian diaspora were up for auction to help Pakistan’s most vulnerable communities in a women- and queer-led initiative.
The board of 70 Washington Street in Brooklyn, which previously housed an artist residency, is weighing the replacement of Helen Brough’s “Emulated Flora” with generic photographs of Brooklyn landmarks.