Subscribe to our newsletter

Get the latest news, reviews, and commentary delivered directly to your inbox.

Support Hyperallergic’s independent arts journalism.

Posted inArt

Collaboration Across Borders Through Artist Workshops

One aspect of all of artists’ workshops and residencies is that in making work side by side, artists inevitably begin to understand each other despite their differences. Empathy is a fundamental ingredient in most art, and while individual works are vastly different from each other, much art confronts and offers unique answers to such essential questions as, what does it mean to be human? Artists are vital to easing political friction because by fostering a vision and purpose, they can dissolve borders and provide a psychic geography.

Posted inArt

The Threshold Between an Image of a Thing and the Thing Itself

Diana Al-Hadid makes work that crosses cultures and disciplines, drawing inspiration from art history, ancient invention, science, science fiction, myth, and Northern Renaissance paintings. In a broader sense, too, once can see influences from architecture, astrophysics, instruments, caves, puddles, black holes, sound and pitch and volume, pixels, plate tectonics, levers and pulleys, geometry, staircases, muscles, acrobatics, pedestals, and invisible things.

Posted inBooks

A Global Toy Story

Do children’s toys breed a culture of violence and war? This was one of the many questions you’re left to ponder when reading Miniscule Blue Helmets on a Massive Quest by Dutch artist Pierre Derks.

Posted inOpinion

Required Reading

This week’s Required Reading explores the restoration of earthquake-damaged Haitian murals, an archeological mystery in West Asia, the 18th C toilette tradition, Genesis Breyer P-Orridge on pandrogeny, connecting the dots on Mona Lisa, the Banksy app, the year’s worst first sentences, cool iPhone cases and even Death has a generational divide.

Posted inBooks

Photojournalism Book Lets Iraqis Tell the Story

Dutch photojournalist Geert van Kesteren’s Baghdad Calling is unique in photojournalism first for its innovative use of the book medium, a compendium of newsprint interspersed with smaller, glossy pages with text and photos. But the content of the book is just as surprising as the format it comes in. The dramatic book, outwardly reminiscent of a UN field manual, mingles van Kesteren’s professional shots of Iraqi families and daily life with his subjects’ own photos, snapshots of the country and their surroundings taken on cell phones and digital cameras.