Art
Reading the Numbers of Stop-and-Frisk
In 2013, Judge Shira A. Scheindlin issued a ruling which effectively dismantled the New York City Police Department’s racist stop-and-frisk policy.
Art
In 2013, Judge Shira A. Scheindlin issued a ruling which effectively dismantled the New York City Police Department’s racist stop-and-frisk policy.
Art
In 1936, the Museum of Modern Art showcased a project by the famed photographer Edward Steichen that featured work not in his expected medium, but Delphiniums he had bred himself at Umpawaug, a farm he owned in Connecticut.
Art
There are over 1,300 Superfund sites across the United States, and Toxic Sites US is a photography, video, documentary, data, and storytelling project to humanize those statistics of pollution.
Comics
She thought she should "try oils" — but that was in 1999!
Opinion
This week, a white poet's yellowface, this Hirshhorn Museum's new director and new problems, Brazilian Pop art politics, the photographic politics of Instagram, 4,500 Man Ray artworks in Queens, and more.
Opinion
Is Donald Trump a bully? It depends on who you ask.
Art
“To wear masks put them off,” writes Ruth Greisman, alter-ego of the late artist and writer Robert Seydel. Though based on and named after Seydel's real-life aunt, Ruth is largely a fictional construct.
Art
I was unexpectedly reminded of the wonderfully irreverent filmmaker Seijun Suzuki while looking at Dana Schutz’s painting, “Slow Motion Shower” (2015), which is included in her current exhibition, Fight in an Elevator, at Petzel.
Hyperallergic
Pick up the second edition of Hyperallergic's Review of Art Books and Zines as a PDF (2.6MB) or look for it at the main entrance way of MoMA PS1 during the NY Art Book Fair this weekend.
Music
Yo La Tengo have always been a peaceful, lyrical-sounding band, but the fragility level on their new album is something else.
Art
There are certain exhibitions in which some or many of the works on display are so interesting, provocative or well-made that they somehow manage to surmount whatever restrictive or overwrought critical-theoretical trappings their organizers have erected around them, defying the analytical filters t
Art
To say that Jackie Saccoccio’s big, drippy, radiant abstractions are all about surface — the skin of the paint — is to say everything and nothing about them.