How Dayanita Singh Got Into Venice’s Archives

Also, why would a Romano-Egyptian take Homer into the afterlife?

When the State Archives of Venice opened to the public as an exhibition venue for the first time in its history last week, artist Dayanita Singh wasn’t sure whether people would come. "We couldn't afford PR," she shared with Hyperallergic Editor-at-Large Hrag Vartanian, noting how she mounted her “photo-pillars” without institutional funding, relying instead on the "friendship economy.” Lo and behold, visitors did come, a testament to Singh’s singular approach to image-making and the living archive. Watch and read Vartanian’s interview with the artist and glimpse into her latest show. 

Don’t miss the latest installment of Beer With a Painter with cartoonist-turned-painter Keith Mayerson, and keep an eye out for Hyperallergic’s coverage of NYC’s art fairs coming very soon.

—Valentina Di Liscia, senior editor


Dayanita Singh with photos of Indian archival documents bound in red cloth, on view in ARCHIVIO (photo Hrag Vartanian/Hyperallergic)

How Dayanita Singh Organized a Major Show in Venice Without Institutional Funding

Unmoored from the anchors of deep pockets that often hinder imagination, the artist brought her images of archival documents to an unusual venue in the Italian city. | Hrag Vartanian


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Maine College of Art & Design Presents the 2026 MFA Thesis Exhibition

This exhibition showcases the culmination of the graduate candidates’ work in the Master of Fine Arts in Studio Art program at MECA&D.

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News

Jean-Michel Basquiat, “Blue” (c. 1979–80) (courtesy The Bishop Gallery)
  • Rare early Basquiat works from the precipice of the artist's career are included in the upcoming Brooklyn exhibition Our Friend, Jean.
  • Hundreds lambast Trump's $7.5 million plan to whitewash the Eisenhower Executive Office Building’s granite exterior.
  • Archeologists discovered a papyrus with lines from Homer's Iliad buried with mummified remains in the ancient city of Oxyrhynchus.

Artists Up Close

Maia Chao, “Being Moved” (2026) (photo Amelia Golden, courtesy Maia Chao and the Whitney Museum of American Art)

Maia Chao Performs the Museum

She approaches the museum less as a neutral space than as a structure that quietly trains behavior and participation. | Clara Maria Apostolatos

Beer With a Painter: Keith Mayerson

“I wanted to rip the mask off the signifier and just deal with the signified,” said the cartoonist-turned-painter who depicts a cosmology of American identity and activism. | Jennifer Samet


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The Bennett Prize Opens Fifth Call for Entries

Women figurative realist painters can enter to win $75,000 and a traveling solo exhibition. Applications are open through September 19.

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Member Comment

Antonio C. Cuyler on Paddy Johnson's "WTF Is an A-Corp?"

This is wonderful, Paddy. Thank you!! I hope that the A-corp comes into fruition. Creatives need more viable options for protecting the creative and economic flourishing. When I taught at Florida State University, one of my astute graduate students asked, "If the nonprofit is broken, why do we have to learn it?" Since then, I have committed to introducing my students to the B-corp, Family Limited Partnership, Fiscal Sponsorship, Franchise, L3C, LLC, Partnership, and S-corp. It's really important for creatives to understand the different paths that they can take to protect their artistic practice while earning a living. The nonprofit is not always the best path to take, especially if you're doing it simply to get grants. 🤓

From the Archive

Tamara de Lempicka, “The Beautiful Rafaëla (La belle Rafaëla)” (1927) (© 2024 Tamara de Lempicka Estate, LLC / ADAGP, Paris / ARS, NY Banque d’Images, ADAGP / Art Resource, NY Image provided courtesy the Fine Arts Museums of San Francisco)

The Larger-Than-Life Art of Tamara de Lempicka

Marrying synthetic Cubism with 16th-century Italian Mannerism and the sensuality of Jean-Dominique Ingres, the artist’s work and life seem made for the silver screen. | Bridget Quinn