• Become a Member
  • Facebook
  • Twitter
  • Instagram
  • LinkedIn
  • News
  • Art
  • Books
  • Film
  • Performance
  • Opinion
  • Comics
  • Podcast
  • Store
  • Sign In
  • Twitter
  • Instagram
  • Facebook
  • LinkedIn
  • Features
  • Previews
  • Reviews
  • Interviews
  • Opportunities
  • News
  • Art
  • Books
  • Film
  • Performance
  • Opinion
  • Comics
  • Podcast
  • Store
  • Sign In
  • Twitter
  • Instagram
  • Facebook
  • LinkedIn
  • Features
  • Previews
  • Reviews
  • Interviews
  • Opportunities
  • Become a Member
  • Facebook
  • Twitter
  • Instagram
  • LinkedIn
  • News
  • Art
  • Books
  • Film
  • Performance
  • Opinion
  • Comics
  • Podcast
  • Store
  • Sign In
  • Twitter
  • Instagram
  • Facebook
  • LinkedIn
  • Features
  • Previews
  • Reviews
  • Interviews
  • Opportunities
Skip to content
Hyperallergic

Hyperallergic

Sensitive to Art & its Discontents

Membership

Natalie Haddad

Natalie Haddad is an editor at Hyperallergic and art writer. 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

Judith Bernstein’s Horror Show

by Natalie Haddad December 16, 2017December 15, 2017

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

by Natalie Haddad December 9, 2017December 8, 2017

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.

Posted inArt

The Politics of Adversity in Pope.L’s Flint Water Project

by Natalie Haddad October 28, 2017October 27, 2017

Flint Water Project politicizes the readymade, positing the bottles as symbols of gross negligence and misconduct on the part of city and state officials, and the dire consequences.

Posted inArt

Vienna’s Prodigal Son

by Natalie Haddad September 16, 2017September 15, 2017

The talent and tumult of Richard Gerstl’s work beg the question of what would have been had he not ended his life.

Posted inArt

The Passion and Pain of Carol Rama

by Natalie Haddad September 9, 2017September 8, 2017

Rama’s paintings confront us with empowered female sexuality and insanity.

Posted inArt

Making Art from a City’s Isolation

by Natalie Haddad September 2, 2017September 1, 2017

At Winnipeg’s Plug In Institute of Contemporary Art, art acts as a kind of magnifying glass, exposing the city’s unconventional and, at times, undesirable aspects.

Posted inArt

The Vertigo of Sturtevant

by Natalie Haddad August 5, 2017August 4, 2017

The artist’s presence in her current one-woman survey at Gavin Brown’s Enterprise is like a ghost in the machine.

Posted inArt

Preserving Dieter Roth’s Ephemeral Art

by Natalie Haddad July 22, 2017July 21, 2017

There’s a discrepancy between Roth’s relationship with his art — so much of which was never meant to last — and its reception by an art establishment that has canonized the late artist.

Posted inArt

One Hundred Years of World War

by Natalie Haddad April 29, 2017April 28, 2017

“Wounded Man (Autumn 1916, Bapaume),” from Dix’s portfolio of 50 etchings, The War (Der Krieg), shows a brutal reality that lays waste to George W. Bush’s anesthetized vision of war wounds.

Posted inArt

A Forest of Chaos and Control

by Natalie Haddad March 11, 2017March 10, 2017

Trees frequently figure in Oehlen’s work. As a formal device, it allows freedom of invention, but the invention is structured by internal logic.

Posted inArt

Remembering Martin Kippenberger’s Self-Performance

by Natalie Haddad March 11, 2017March 20, 2017

His drunken antics and grand gestures amounted to a life that New York Times art critic Roberta Smith once called “an extended, alcohol-fueled performance piece.”

Posted inArt

Saying Goodbye to a Visionary Eye

by Natalie Haddad February 18, 2017February 17, 2017

The Susanne Hilberry Gallery was a gateway to the art world that lay beyond Detroit as well as a kind of training ground where artists, art students, and art critics could learn to view and interact with artworks critically.

Posts navigation

Newer posts 1 2 3 4 5 Older posts

Popular

  • You've Heard of Wordle, But Have You Tried "Artle"?
  • The Worst McMansion Sins, From Useless Pilasters to Hellish Transom Windows
  • Notes and Pictures From Frieze New York
  • Yarn Against the Patriarchy
  • David Attenborough Guides Us to the Time of the Dinosaurs
Sponsored
  • FAT HAM at the Public Theater Spins Shakespeare Into a Celebration of Community
  • Triennial of Photography Hamburg Reflects on Currency
  • NOMA Presents Katherine Choy: Radical Potter in 1950s New Orleans
  • ArtYard’s Ecstatic Decrepitude Features Works by Bread and Puppet Founder Peter Schumann
  • Facebook
  • Twitter
  • Instagram
  • LinkedIn

Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.

  • Home
  • Latest
  • Podcast
  • Store
  • About
  • Support Us
  • Advertise
  • Contact Us
  • Sign In
  • Membership
  • Newsletters
  • Submissions
  • Careers
© 2022 Hyperallergic. Proudly powered by Newspack by Automattic Privacy Policy