If we are accustomed today to the waterfall of reactions on social media, blogs, television, street art, and dozens of other channels to the latest happenings in contemporary life, in 1913 the response to the Armory Show must have seemed overwhelming in an era where opinions found fewer outlets for amplification.
Lampooned by newspapers and cartoonists, the Armory Show may have since become a symbol of the once awkward marriage of European avant-gardism and American mass sensibilities, but at the time it was also a war over what art was and could be. These comics, from publications as varied as the UK’s satirical Puck magazine to New York’s various dailies, give you a sense of the tension brewing in the culture during that period.
If these comics, which can be found at the New-York Historical Society’s “Armory at 100” website aren’t enough to excite you about the museum’s major Armory show opening October 11, then I don’t know what will.
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.