Animal New York has been documenting the steady stream of defacement that artist Shepard Fairey’s May Day exhibition mural on Houston Avenue has been subject to. First it was targeted by a graffiti writer, then holes, and now a clever “Target” logo. It’s worth noting that the target form that is being ridiculed refers to artist Jasper Johns’ famous target image from the 1960s but the form has undoubtedly been transformed in the public imagination by the Target department store chain, which nowadays is more commonly associated with the imagery.
Detested by many in the graffiti and street art community as a sell-out, Fairey is certainly going to be a lightning rod for another age-old rivalry, namely the one between graffiti writers and street artists (both types of artists that work in public spaces but often don’t get along).
I have to admit I’m looking forward to what’s next.
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
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.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.