In Against Our Will, Vivien Green Fryd makes a convincing case for the need to examine artworks through the lens of sexual trauma, a violent reality that unfortunately spans across gender, ethnicity, race, and time.
The art world conditions its workers to accept subpar safety standards and low salaries in the name of high culture. And because art handlers frequently hop from institution to institution for jobs, issues are typically handed off to the next wave of workers.
It is crucial for us to see how and why European and American images of Palestine have historically distorted the realities of this region.
Along a two-block stretch of Hollywood Boulevard, over 35 artists, performers, and collectives will turn the sidewalk into a stage for performance art, dance, music, comedy, and even karaoke.
The documentary Three Dances and the stage musical Hungarian Nights approach modern Central European culture from vastly different standpoints.
The undercurrent of the book is the link between Japonisme, aesthetics, and queer culture: Admiring Japan was, in several cases, shorthand for queerness and a dainty homoeroticism.
Lily Cox-Richard questions — and successfully subverts — a long-held association between the aesthetic qualities of classical sculptures with physical whiteness.
Over the summer, Hyperallergic interviewed dozens of art handlers about the variable conditions of their workplaces. This week, we are bringing their stories of accident and injury into the light.
New revelations show the sex offender’s close ties to the New York Academy of Art, where he served as a board member, and M.I.T. Media Lab, to which he donated almost $1 million