We love representation, the power of signifying, and the incisiveness of well-argued critique, but by themselves, these tools won’t effect structural change.
This year-end issue of the Hyperallergic Special Edition consists of reflections, that acknowledge the struggles that the Hyperallergic team — staff writers and editors — experienced right along with our readers, while also keeping in sight the exhibitions, events, protests, and initiatives that buoyed us.
In “Self Must Die,” Fordjour’s penchant for lush colors and surfaces dovetails with the theme of churchified rituals of remembrance.
The artists at False Flag Gallery demonstrate the through line between art of the African continent and modern abstraction.
Mike Zahn gives us an image of Shrine’s empty gallery projected in the empty space, offering a commentary both meta and melancholic.
We are seeking opinions that encourage and cultivate thoughtful debate and make it possible to see aspects of an exhibition, policy, or initiative that we had not considered before.
Looking at the upcoming shows from Pace, David Zwirner, Gagosian, and Hauser & Wirth one hardly gets the sense that we are in a moment of acute crisis.
In his new series, the artist has created 60 works created directly on or made from pre-1900 antique quilts.
They write, “We welcome Peter Karol’s extended reflection on topics at stake in the Panza Collection Initiative, which contains many important points, but also contains several errors and misstatements, which we are writing to correct.”
With his recent works on linen, Joe Lewis plies the idea of moving human bodies regarded as contraband via the surveillance network of the state.
Flannery expresses the author’s genius but goes to tortured lengths to excuse her racism.
With his photo book In Time of Plague, Brian Rose documents a previous devastation made more visible by a more present one.