Ari Emanuel Doesn't Want to Hear the G-Word

The Frieze owner criticizes rapper Macklemore's pro-Palestinian statements, the overlooked artisans who built Ancient Egypt, and other stories.

Ari Emanuel Doesn't Want to Hear the G-Word
Willie Birch, “Knowing Our History, Teaching Our Culture” (1992), painted papier-mâché and mixed media

Frieze owner and Hollywood mogul Ari Emanuel is not convinced that Israel's violence against Palestinians meets the definition of genocide. He also didn't appreciate rapper Macklemore's comments on the matter during a recent Ed Sheeran concert. The United Nations, Amnesty International, Human Rights Watch, the International Federation for Human Rights, the International Association of Genocide Scholars, and the Israeli nonprofit B'Tselem are among many organizations that beg to differ with Emanuel. Read more below.

Also today: a look back on five-plus decades of Willie Birch's art, the Met Museum announces a major Félix González-Torres survey, and the overlooked artisans who built Ancient Egypt.

Hyperallergic members, if you’re in New York on September 30, please join us for a special event with artists at the International Studio & Curatorial Program (ISCP). We’d love to see you there.

—Hakim Bishara, editor-in-chief


Frieze Owner Ari Emanuel Criticizes Macklemore Over Pro-Palestinian Comments

Hollywood mogul and Frieze owner Ari Emanuel objected to calling the actions of the Israeli military in the Occupied West Bank a genocide, criticized rapper Macklemore’s pro-Palestinian remarks, and complimented Elon Musk for doing “incredible things for the human race” during an interview on the Daily Show on Monday, September 21.

The comments come days before the September 24 opening of New York’s Armory Show, which Frieze owns and effectively operates alongside six other fairs, two exhibition spaces, and its namesake publication. | Anna Lee

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Derrick Adams, Randy Polumbo, Wills Glasspiegel & More Artists Project Newly-Commissioned Works Onto Historic Hangars in Brooklyn

Jamaica Bay-Rockaway Parks Conservancy gathers 21 artists for the second biennial Floyd Bennett Field! Public Arts Festival on October 3

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News


Books

The Unsung Craftspeople Who Built Ancient Egypt

A new publication reflects a growing interest in the lives of the makers behind the civilization’s arts and crafts, long marginalized and erased by mythologized depictions of the ancient world. | Nageen Shaikh

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From Our Critics

Gather ’Round, Willie Birch Is Speaking

Across five decades of work, he always asked: What’s my neighborhood, and what does it need? | Nereya Otieno

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Thomas Hart Benton’s Sanitized American Idyll

His ambition to capture the full experience of living in the United States had its limits. | Bryan Martin

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Applications Open: IDSVA Low-Residency PhD Program for Artists and Creative Thinkers

Begin your PhD journey in summer 2027 with residencies in Rome, Spannocchia Castle, Arezzo, and Siena.

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In Memoriam

Remembering Lucia Laguna, Rodrigo Cass, and Nelson Garrido

This week, we honor a Brazilian painter inspired by nature and another who drew on Catholicism, and a Venezuelan photographer who challenged power. | Lisa Yin Zhang

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Funding International Dialogue: The Asian Cultural Council Opens 2027 Global Grant Cycle

ACC invites artists, arts professionals, scholars, and organizations to apply from Oct 1 to Nov 10, 2026.

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Member Comment

Thank you for opening the cellar door and shining some light on this. I am an artist who has worked to pay the bills and shoehorned in time to paint all of my adult life. When the muse isn’t cooperating (ie, I am too mentally exhausted to make art), I find myself making creative outlets in other ways like gardening, making suncatchers and assemblage out of found objects, etc. it feeds that itch. Anyone who studies ‘professional’ artists, whether in the past or contemporary, sees the pattern: coming from wealth is the overwhelming majority of them, then comes marrying into wealth, a spouse who supports the artist both financially and very often manages all of the mundane tasks like any paid agent would. Fewer than ever have a patron.

—Marcia Geiger on "Art Problems: If I Have a Day Job, Am I a Real Artist?"

From the Archive

Archival Art Will Not Save Us

Archival work has a place in historical recovery and cultural self-understanding. But not every artwork must be archival, and our politics shouldn’t end with presence rather than action. | Vinh Phu Pham

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