“What did we do before Hyperallergic?”
We often think about this question we used to get when meeting new people, and feel proud. Our success is best measured by how our community depends on us and whether you’d miss us if we were gone.
If you need us, we need you.
For over 11 years we’ve been a forum for critical conversations around art and issues of social and economic justice in the art community. But we can’t continue to do this work without your support.
Our offices are emptied. Our team is working remotely across the country. But we are working harder than ever to ensure the quality and breadth of our coverage is not impacted, and we’re proud of our team for continuing to publish some of the best journalism of their careers.
Our reporting on salary cuts, furloughs, and layoffs as museums struggle to stay afloat during the pandemic has incited passionate discussions on equity and inclusion in the arts community, leading some to question the foundational changes that today’s institutions need to make in order to remain standing and relevant tomorrow. We were the first to point out the boarding up of gallery and museum facades amid recent protests and we have continued to examine the dissent and controversies brewing at museums across the country.
As many of you know, we launched a new Membership program in March as it became clear that we would not survive the economic crisis without direct reader support. As this crisis has stretched on, turning a difficult few months into a difficult year, we need your support more than ever to continue publishing.
So far, the response has been overwhelming, and over 4,000 (and growing) generous Hyperallergic readers have reached for their wallets to support us. With their help, we were able to sustain ourselves through an unpredictable spring and summer, avoid layoffs, continue commissioning work from some of our regular contributors, and push conversations forward.
A strong arts community benefits from independent media not tied to auction houses, galleries, and other art market institutions. As one of the only independent publishers focused on visual art and culture, we are counting on you to support us through this challenging time. The next few months remain uncertain and we need your help.
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We know not everyone is currently in a position to contribute today, but if you are, we hope you’ll join us.
As art history buffs on the app have pointed out, both movements attribute meaning to the meaningless.
Multiple posts about the film have been taken down on Twitter, many of them following the government’s removal requests.
Located in Des Moines, Iowa, this residency for emerging and established artists includes studio and living space, a $1,000 monthly stipend, and more.
This week, blonde hair supremacy, Salman Rushdie’s new novel, and why do boutique shops all look the same?
Fayneese Miller is under fire after the school failed to renew the contract of an adjunct who showed artworks depicting the Muslim Prophet Muhammad.
Hundreds of visitors were evacuated from the Incan site over the weekend.
The artist’s works resonate in West Texas, where the story of dehumanized and exploited migrant laborers is tangible and ever-present.
Fully-funded teaching assistantships are standard for MFA students at the top-ranked, flagship research university in the state of New York.
A posthumous show of Price’s work is curated by James Hart of Phil Space, the self-proclaimed “gallerist of death.”
She has raised generations of Bay Area artists and changed the local landscape with her public artworks, colleagues tell Hyperallergic.
Saim Sadiq’s crushing debut, the first Pakistani film to be shortlisted for the Oscars, is imbued with a crisis of space.
Asma Naeem’s appointment comes in the wake of a tumultuous period for the institution.