Art
Peter B. Jones Sculpts Truth to Power
The Onondaga artist has a propensity for cultural criticism — especially on the issues affecting Haudenosaunee and other Indigenous peoples, past and present.
Natalie Haddad
Natalie Haddad is Reviews Editor at Hyperallergic and an art writer and historian. She holds a PhD in Art History, Theory and Criticism from the University of California San Diego and has written extensively on modern and contemporary art.
Art
Lutz Bacher’s Elliptical Cosmologies
Her posthumous exhibition Aye! makes space for gaps in understanding and sonic vibrations to cultivate cosmic wonder.
Interview
The Exposed Nerves of Kim Jones’s Art
“My drawings were always kind of grim and dark, and leaning toward the nasty part of art, whatever you want to call it,” Jones explains in an interview with Hyperallergic.
Art
The Trailblazing History of an Indigenous Art Collective
Launched in 1962, the Micmac Indian Craftsmen collective designed notecards, tapestries, porcelain, and other objects that gained a worldwide audience.
Art
The Filipino-American Friends Who Forged New Artistic Paths
Once Carlos Villa and Leo Valledor recognized that they could never fully assimilate into mainstream America, they set out on their own paths.
Art
Remembering a Pioneer of Louisville’s Black Avant-Garde
When White-dominated arts institutions would not offer them opportunities, Robert L. Douglas and other Louisville Black artists organized together to create their own art communities.
Books
The Dreamlike Paths of Dialogue with a Somnambulist
The texts in Chloe Aridjis’s new collection of stories and essays unspool not via chronological order, but through the strange rationality of dreams.
Art
SWANA Women Artists Deserve Better
The exhibition Women Defining Women at LACMA suffers from poorly defined parameters and a weak understanding of its own premise.
Books
A Multi-Generational Gee's Bend Story, Told by One Quilt
Stitching Love and Loss narrates the history of the Pettway family, the community of Gee’s Bend, and the entwined tragedies of slavery and Indigenous dispossession.
Art
Jane Lackey’s String Theory
Lackey’s “cut paintings” bring to the forefront the often invisible or rarely acknowledged experiences of connection.
Art
William Edmondson’s Tombstone Blues
The self-taught artist, who carved gravestones for a living, is finally receiving institutional recognition.
Art
Rowan Renee Unearths Green-Wood Cemetery’s Forgotten Lives
The lots at the cemetery’s perimeter are marginal sites for people who, very likely, were marginalized during their lives.