This week in art news: an online crime wave targeted galleries, over 5,000 artists and arts workers signed a letter denouncing sexual abuse and sexism, and the MTA released Barbara Kruger’s limited edition MetroCards.
In the fourth episode of the Hyperallergic Podcast we focus on the Women of Abstract Expressionism exhibition at the Denver Art Museum.
What a decade! The range of the most popular posts represent the diversity of topics the site covers. Just another decade in the life of Hyperallergic.
PARIS — On Saturday afternoon, people trickled across the large plaza in front of the Hôtel de Ville.
LONDON — white, Edmund de Waal’s intervention at the Royal Academy (RA) library, is a wonder.
This week, gallerist Marian Goodman speaks, why “bad boy” female artists are ignored, problems with architecture in Chicago, Brian Eno on the ecology of culture, the object that came alive at the British Museum, and more.
Angela Dufresne had a couple of beers cracked open and ready when I arrived at her East Williamsburg studio. It was an old-school painting studio – which somehow surprised me, perhaps because Dufresne’s work is so dense with contemporary theory.
Imagine for a moment that in the days after Johannes Vermeer’s death in 1675, that his widow Catharina and eldest daughter Maria, sitting in a darkened room of the Vermeer home, conspired to settle their numerous family debts in a secretive way. Owing their baker the largest sum of money, the widow and her daughter would give up two of the Master’s last paintings to settle their debt. In a theory developed by Cooper Union art history professor Benjamin Binstock, the two debt-settling paintings were actually the work of the daughter, Maria Vermeer.
I think it’s funny that Patricia Albers’s recent and authoritative biography on Joan Mitchell was given the subtitle “Lady Painter.” It’s my only guess that Mitchell’s lifestyle and her painting were so out of character for the time that the term becomes ironic. The artist was known for her camaraderie with Cedar Tavern macho dudes like de Kooning and Pollock, her hangout sessions with beatnik poets, her ability to party, and her tendency to drink and sleep around with bravado. At the time these activities and attitudes were thought to be reserved for men. Mitchell gradually carved out a space for her paintings to be given the same treatment.