Earlier this month Robin Kaiser-Schatzlein wrote about the creative class and how eulogies may be premature: While this system produces culture, no one is paid enough, and the rent climbs ever upward. I once worked an art fair with a kindly but grizzled art handler who told me that he’d been making the same rate […]
The Portuguese author concealed his identity behind aliases, or what he called heteronyms, who served as guides to living.
In her dozens of pastels on handmade paper, Mie Yim seems to start each one over, never attempting to make a variation on a theme.
Sultan’s works implicitly reject the corporate scale of the Minimalists in favor of a domestic and intimate space
“I am interested in the symbols that are flooding our world, which everybody can recognize, but which have almost no meaning.”
“Since the start of the pandemic I’ve hung onto fleeting moments of beauty.”
Reviving the 1980s with the 1975, Haim, Jessie Ware, and Tame Impala.
Playing at the Sundance Film Festival, the Brazilian drama will make you wonder if writer/director Iuli Gerbase is a prophet.
“The Brutish Museums” considers the histories of cruelty that western museums perpetuate when they do not endeavor to return looted colonial artifacts.
There’s been a lot of news recently, so Hyperallergic’s news team discusses some of the big art stories of the month in this episode.
The tempera on panel painting is one of three portraits by the 15th-century artist left in private hands.
PEN America has released a critical guide for artists at risk, created with input from persecuted creators around the world.