Seph Rodney, PhD, is a former editor for Hyperallergic, and is now a regular contributor to Hyperallergic and the New York Times. He received the Rabkin Prize for arts journalism in 2020 and an Andy Warhol Foundation Arts Writers Grant in 2022.
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WASHINGTON, DC — I had a moment of hesitation when walking into the CrossLines exhibition, particularly when I saw the subtitle, “A Culture Lab on Intersectionality,” and the blurb that further claimed that “40+ artists and scholars explore race, gender, class, ethnicity, religion, sexuality and dis
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On first seeing an image of Barack Obama’s head festooned with small figurines of previous United States presidents I took an immediate dislike to Brian Tolle’s solo show POTUS at CRG Gallery.
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Every once in a while I see a show that makes me feel good, even hopeful about this overheated, self-aggrandizing, status-obsessed art scene in New York. Chroma Botanica: Ellie Irons & Linda Stillman was such an exhibition for me.
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The recently closed exhibition by Shimon Attie at Jack Shainman gallery is the documentation of a peculiar work made two years ago and installed in contested locations in Israel and the Palestinian Territories.
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This year's AAM (American Alliance of Museums) conference, organized under the theme “Power, Influence, and Responsibility,” made a significant effort to meaningfully engage with issues of diversity and the inclusion of historically underrepresented populations.
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Julieta Aranda’s latest work on view at the James Fuentes gallery, has the patina of social significance and discernment.
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The Performance Anxiety series, curated by Ventiko, stages a monthly performance buffet on the Lower East Side.
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The Close to the Edge: New Photography from Japan exhibition at Miyako Yoshinaga looks to position the gallery as an organization that shapes the conversation around historical and contemporary photography from Japan.
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On a Saturday evening a few weekends ago, several artists, performers, activists, and writers gathered at an apartment in Chelsea to discuss their relationship to the city-wide process of gentrification.
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I received an invitation to attend a show titled “Authority Figure,” subtitled: “An immersive choreography exploring our relationships to surveillance, big data, and policing as it mingles with our psychology.”
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A few years ago I worked at a commercial art gallery on the Lower East Side as the communications manager. In this role I was responsible for interviewing our unpaid interns, hiring them, and supervising their daily tasks.
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“Direct Downward Cut at the Head; Overhand Knife Thrust”; “and where the blood ran fastest, there he whipped”; “To them God has appeared as a Negro”; "syntactical slips and breaks" — these are a sample of the bits of text affixed to the walls in Kameelah Janan Rasheed’s On Refusal.