Support Hyperallergic’s independent arts journalism.
* * *
Mama said for safety we wander.
I remember different lands.
One where soldiers showed me
where all’s future war,
war signs tow and end,
where shined higher. That’s the word: knack.
In the lands we traveled
they give me ‘war knack,’
a dunk leer to target the target,
an inner spring sword motor.
One land I learned to track without phone.
Put a notch in a lion.
I learned serum full a fool that’s larger,
how to wield bladed
the proverb stick.
Higher’s abhorred words weirdly inured
me, save me from getting bashed, an “um”
so shimmer designed dense
could brain the louchest tête.
Another place the General show me
wires for leering, den rug nerve potions,
ant-ish spy gels, making the phones
workin the inner spring and valance sway.
And once I learned… woe the whir groom-white skinned
: Tell me about it, Trawler.
All this before they came to call me
Bone Breaking Lion Son of the Buffalo Cats on the Shoulder
I just a kid.
The new generation of artists and curators is eager to explore alternative organizations and to tackle current social inequalities and issues.
Her female nudes were extraordinary for the time because she portrayed female sexual desire. Her subjects defied conventional ideals of femininity.
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.
Francis made over 10,000 artworks, starred in more than 100 solo exhibitions, and, in the late 1950s to mid-1960s, commanded the highest prices of any living painter.
Brian Blomerth’s Mycelium Wassonii deploys amazing graphic storytelling to share his own exploration of mushroom history
Over a century after Wright designed a workplace that borrowed features from the home, designers are at it again, but who does a homey office really serve?
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.