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.
Art
On March 2 the Artist’s Institute launched its latest season with an exhibition devised, curated, and installed by the writer and critic Hilton Als, an exhibition the institute describes as an “emotional retrospective.”
Art
You need to spend half an hour looking at each of these photographs to gather all of what's happening inside it.
Art
These works suggest the uneasy relationship between sex, power, and desire that is brought to the surface by performed femininity.
Art
Cary Leibowitz seems to want to make us laugh.
Art
This is not just an informative and enlightening show; it's also an important one, one that gets us to look at what, for some of us, is necessary to live in this particular time and place.
Art
An African City presents West African feminine fierceness.
Art
What I saw when I stepped from the elevator and entered the hush of the Artists Space gallery was barely anything: a red raincoat on the wall, some honey-colored wood benches that looked as if they belonged in a courtroom, and some odd steel contraptions on the floor.
Art
Examples of this trend can be seen at several major New York art institutions. Three in particular are exemplary: BRIC, Queens Museum, and the Whitney Museum.
Art
“I would never have gotten this opportunity without the support of the Museum Hue community,” said Stephanie PhaFa Roy, Visitor Services and Digital Content Manager at MoCADA.
Art
This installation begins with awe of the sanitized world that we may likely build in the future, and it ends with the guarantee of nothing.
Opinion
The argument is that Beyoncé’s “Formation” is complexity masquerading as simplicity. But it’s also simplicity pretending to be more complicated.
Opinion
Seeing the current retrospective of Picasso’s sculpture at the Museum of Modern Art reminded me of a graduate school experience, because as I wandered through the show I saw work that cleverly illustrated problems that sculptors would need to solve and questions they might have to answer in the cour