At the demonstration, dubbed the “platanito protest,” custodians shared stories of working two jobs and still not being able to afford gifts for relatives during the holiday season.
One anonymous employee says it worries him that he has not been paid for six months, despite continuing to do his job and sometimes working late nights.
Then and now, Shange’s work responds to an urgent fever pitch humming beneath the taut surface of pain and respectability. A dazzling revival at the Public Theater reminds us of its timelessness.
Released 40 years ago this Sunday, Cagliostro established Miyazaki as a notable talent. Much like his latest film, The Wind Rises, it reflects the director’s changing attitudes towards the animation industry.
Terrence Malick’s latest film makes me feel the way church never did, capturing an essence of the divine through aesthetic sublimity.
For Sama directors Waad al-Kateab and Edward Watts talk to Hyperallergic about turning al-Kateab’s many hours of personal footage into a documentary.
The contestants in this year’s Gingertown competition recreated the lagoon city with jellybean canals, candy cane arches, and gingerbread walls.
Artists and arts professionals who wish to sharpen business skills and take control of their financial health should register by January 15, 2020.
Here are our favorite books of 2019, brought to you by the writers and editors of Hyperallergic.
This week, the Museum of Contemporary Art in Denver began its partnership with EnChroma glasses, which offers lenses engineered for people with color vision deficiency.
Also, a California church mounted a nativity scene that comments on US–Mexico border detentions, “classic blue” is Pantone’s color of 2020, and more.