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Any year that begins with the caucusing of Republicans in Iowa and the sacking of Jim Hoberman at the Voice can come to no good. Yet here we are embarking on a new venture, Hyperallergic Weekend, to see what we can make of it.
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Go ahead, expect more of these sweaty headlines with question marks in them. Because, with the now rather infamous Cariou v Prince case up for appeal sometime this year, we are facing another deluge of half-informed, and angrily contentious, punditry which will wash over the raw, dry, factual sands
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MANILA, Philippines — Shortly before I left Manila, I saw three shows that I wanted to take time to review briefly. My own biases as an artist and arts writer lean toward art that engages in some sense with social issues and society, and I found that so much Philippine art really tackled social issu
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I find it exciting when fine art fuses with fashion, and Louis Vuitton’s recently announced collaboration with Yayoi Kusama may produce some spectacularly spotted goods. Interestingly, this pairing coincided with former LV collaborator Takashi Murakami’s newly unveiled installation at Qatar Museums
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This week we continue with more show openings for weekend art-goers in need of a nugget of inspiration. Our round-up includes the Mike Weiss Gallery, Sculpture Center, Journal Gallery, the Studio Museum in Harlem, Airplane gallery, Nyehaus Gallery and Chambers Fine Art.
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The Michael Rosenfeld Gallery’s mission is to promote important movements within American art while also increasing the visibility of under-recognized artists. Otherworldliness, the gallery’s current exhibition, executes the institution’s objective with cool aplomb.
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Last night, I attended Feeling the Shape of the Arts Economy, a forum for discussion organized by Working Artists and the Greater Economy (W.A.G.E.) at Artists Space.
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The art of Zanele Muholi confronts what it means to be a black queer woman in a country like South Africa, where a certain sector of cultural and social beliefs authorize the “corrective rape” of gay women.
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Can a person own a color? Yves Klein may say yes, but Yves Saint Laurent begs to differ.
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CHICAGO — There’s often a tug of war going in between what’s in a work of art and what you are told about it. So when I saw the exhibition Turnin’ the Tip at Chicago’s A+D gallery, my first response was to the work that I was looking at it, independent of catalogue essays or wall text: big black and
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Ringing in the New Year, the Winkleman Gallery's group exhibition Corporations Are People Too might prove that 2011's artistic obsession with corporate power, the economic crisis, and abandoned office buildings with unintentionally ironic posters will continue into 2012. And I'm not entirely convinc
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Welcome to 2012! As soon as the clock struck midnight, not only did the new year begin, but the art world also got a shot of adrenaline as January brings in more exhibition openings than we can keep track of.