Strau’s collage-paintings merge the word and the light, while positing the shared slipperiness of language and faith.
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.
Posted inArt
Strong Women and Male Privilege at the Felix Art Fair
Kaari Upson’s work resonated with the excesses and liberties that characterize the relationship in Hollywood between powerful men and less powerful women.
Posted inMusic
Pioneers of Michigan’s Noise Scene Return to Their Land
The 2018 incarnation of Universal Eyes has been a moment to look forward to, and an opportunity to look back on the noise and experimental music scene that emerged in the 2000s in Michigan and the Midwest.
Posted inArt
Emory Douglas’s Language of Revolution
Douglas’s historical and new works, shown alongside pieces by younger artists, draw a line of influence between the two generations and establish a community of shared concerns.
Posted inArt
Art and the Ascent of the Third Reich
By returning to the details of life embedded in bodies, objects, and the earth, the artists featured in Before the Fall at Neue Galerie conveyed the hope that the world might reassemble itself.
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The Everyday Politics of Conceptual Art
While Michael E. Smith’s sculptures and installations draw on conceptual art, his practice centers on the objects he uses, and the messy details of life.
Posted inArt
Richard Aldrich’s Elliptical Paths Through Language
Aldrich brings a rich sense of materiality to a practice founded on the gap between images and language.
Posted inArt
A Homecoming for Mike Kelley and Jim Shaw
For fans of Kelley and Shaw, Michigan Stories is a kind of origin story, a way to decipher the work of two multifaceted and prolific artists.
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The Cosmic Utopianism of Two Fin-de-Siècle Collectives
The exhibition is strongest conceptually when the curators focus on the artist collectives that sought a new social and cosmic order through art.
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Françoise Grossen’s Gift of Quietude
Grossen’s rope sculptures complicate the boundary between art and craft in a productive way.
Posted inArt
Judith Bernstein’s Horror Show
There may be no artist in America better equipped to express the perversity of the Trump administration than Bernstein.
Posted inArt
The International Modernisms of World War I
Ephemera provides an important history lesson, especially for a war that is disappearing from America’s collective memory, but the most affective works in World War I and the Visual Arts are those that convey the pathos of the war experience.