We love representation, the power of signifying, and the incisiveness of well-argued critique, but by themselves, these tools won’t effect structural change.
Author Archives: Seph Rodney
Seph Rodney, PhD, is the opinions editor and managing editor of the Sunday Edition for Hyperallergic and has written for the New York Times, CNN, MSNBC, and other publications. He is featured on the podcast The American Age. His book The Personalization of the Museum Visit was published by Routledge in 2019. In 2020 he won the Rabkin Arts Journalism Prize. Find him at sephrodney.com.
Special Edition: 
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.
Derek Fordjour Conjures a Heavenly World
In “Self Must Die,” Fordjour’s penchant for lush colors and surfaces dovetails with the theme of churchified rituals of remembrance.
Black Artists Claim Their Birthright of Abstraction
The artists at False Flag Gallery demonstrate the through line between art of the African continent and modern abstraction.
Welcome to the Empty Gallery That Speaks Volumes
Mike Zahn gives us an image of Shrine’s empty gallery projected in the empty space, offering a commentary both meta and melancholic.
Have an Informed Opinion About Art? We Want to Hear It
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.
How Woke Are the Fall Shows at New York’s Blue-chip Art Galleries?
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 Works, Sanford Biggers Finds a Future Ethnography
In his new series, the artist has created 60 works created directly on or made from pre-1900 antique quilts.
Guggenheim’s Panza Collection Team Responds to “Why Did the Guggenheim Decommission a Donald Judd?”
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.”
Extending the Underground Railroad into the Present
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.
A Documentary’s Attempt to Protect Flannery O’Connor at All Costs
Flannery expresses the author’s genius but goes to tortured lengths to excuse her racism.
Williamsburg’s Wave of Gentrification Becomes More Visible During the Pandemic
With his photo book In Time of Plague, Brian Rose documents a previous devastation made more visible by a more present one.