It’s been a non-stop news cycle since last November’s election, and Hyperallergic’s news team has been on it. Join us and listen to the team’s thoughts on the stories we’ve been reporting on.
For this episode, we gather to discuss the stories that we covered this week, including the Bernie memes; the Capitol insurrection; the charred Melania Trump sculpture in Slovenia; the rumors that Trump staffers were taking works home; the Ohio Arts Board member who was forced out after her social media posts were discovered; the damage to an ancient arch in Iraq; the closing of the disastrous Vessel in Manhattan; and the viral sink reviewer who hates the faucets at the Museum of Modern Art.
The music for this episode is Lorenzo Senni’s “Canone Infinito” courtesy of Warp Records.
Although Khedoori does not depict living beings, their presence is evoked in the traces they leave behind.
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
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.
While it may be strange to think of food insecurity as a basis for art, the works in Food Justice reveal barriers and injustices in food access.
Shiv would definitely have a Chihuly chandelier.
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.
“[The art market] provides an opportunity for people to move money in a way that they can’t with other commodities,” says FBI Special Agent Chris McKeogh.
Black American Portraits features over two centuries of artworks centering Black artists and subjects.
A love of Black art and history was the bedrock of the friendship between Dell Marie Hamilton and Susan Denker, who had markedly different racial, economic, and generational subject positions.
With what he says is his final museum bow, Fitzpatrick shines a light on the colorful diversity that composes his city.
The question of race — however hidden, however camouflaged by the shouts of the crowds — is a constant theme and an unanswered challenge.