Implicit throughout the artist’s latest show is the tension between the feeling of failure and the struggle to be recognized and taken seriously, rather than erased.
Natalie Haddad
Natalie Haddad is a co-editor of Hyperallergic Weekend. She received her PhD in Art History, Theory and Criticism at the University of California San Diego. Her research focuses on World War I and Weimar-era German art. She has written extensively on modern and contemporary art and has contributed essays to various art publications and exhibition catalogues.
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A “People’s History” of Los Angeles’s Skid Row
Artists and activists have a long history in the Skid Row neighborhood. An online archive documents their stories and influence.
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Léon Spilliaert’s Nocturnal Visions
Spilliaert saw his hometown of Ostend, Belgium, as a kind of liminal space between the outside and his interior world.
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Ree Morton’s Personal Work Asserts That Art Doesn’t Exist in a Vacuum
While Morton’s career spanned less than a decade (1968–1977), her work remains vital to questioning what it means to be a woman in art history and society.
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Ann Greene Kelly Estranges the Familiar
In Kelly’s sculptures, manmade objects morph into new or composite forms that seem to verge on organic.
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120 Artists Create a “Drive-by-Art” Exhibition Throughout Los Angeles
The exhibition includes both well-known and emerging artists and reaches across LA County’s varied neighborhoods.
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Johanna Went, the “Hyena of Performance Art”
Messy, anarchic, and sexualized, Went’s performances around Los Angeles from the late 1970s through the ’80s refused to be reduced to a single thing.
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The Enigmatic Beauty of Leidy Churchman’s Paintings
Churchman raises pointed philosophical and sociopolitical inquiries by coaxing viewers toward a position of otherness.
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Searching for Humanity in the Not-Quite-Human
Throughout his career Jon Pylypchuk has confronted the most awkward and gut-wrenching parts of being human.
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Artists of the Darkness and Light
While Tatsumi Hijikata and Eikoh Hosoe reflected the countercultural mood of Japan’s postwar avant-garde, the trauma of World War II is inscribed in both artists’ aesthetics.
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Can a Porn Website Liberate Women in Art?
The Pleasure Principle at Maccarone wavers between issues of women’s representation and those of pornography and art, without fully committing to either.
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The Divine Light of Josef Strau
Strau’s collage-paintings merge the word and the light, while positing the shared slipperiness of language and faith.