Support Hyperallergic’s independent arts journalism.
In honor of National Hispanic Heritage Month, which takes place from September 15 to October 15, five of Getty’s most popular online exhibits on Google Arts & Culture will now be permanently available in Spanish as well as their original English. The move is part of an effort on the part of the Los Angeles museum to make its collections more accessible to online visitors; according to the US Census Bureau, 48.6% of LA County identifies as Hispanic. There are plans for additional translations of Getty’s Google exhibits in the near future. In order to view the collections in Spanish, viewers must make it their language preference under browser settings.
The five collections newly available in Spanish are a survey of Irises in fine art, including works by Vincent van Gogh and others, as well as a lesson in the mythic history of the flower; a collection of Getty works celebrating LGBTQ Pride; a focus on Medieval and Renaissance depictions of Balthazar, a Black African King; a recently-acquired group of Japanese-American photos; and an examination of Edgar Degas’ artistic methods through a close-study of his pastel drawing of a ballerina.
Getty has been a partner to Google Arts & Culture for a decade. Previously, the pair collaborated on Art Transfer, which turns photos into works of art; Art Projector, an augmented reality tool that allows users to project a masterpiece into their home; and Pocket Gallery, a life-size virtual exhibition space housed within a mobile phone.
The online format offers a dynamism that enables engagement with the Getty’s collection not only from afar, but also in closer detail than is sometimes afforded by an in-person viewing experience. As the pandemic-related closures of many cultural institutions demonstrated, it is important to find ways to make the vast cultural holdings of museums readily accessible via virtual platforms — and now in more languages.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
The exhibition at the Jewish Museum delves into “degenerate” art and art made under duress as part of a thought-provoking yet diffuse exhibition.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
Despite his work’s apparent abstraction, Sheroanawe Hakihiiwe insists that “I don’t invent anything, everything I do is my jungle and what is there.”
David Uzochukwu, Kennedi Carter, and Kiki Xue are among the 35 artists whose work will be displayed online and at the festival in Milan, Italy.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
To do so before they have returned the Maqdala treasures and the Benin Bronzes and the Easter Island statues and the Maori heads, before a coherent set of precepts for decolonization has been articulated, would affirm the wrong principle.
“Everybody in Mesopotamia, as far as I understand it, believed in ghosts,” said Irving Finkel, a curator of the British Museum’s Middle Eastern department.