The COVID-19 pandemic may be an opportunity to look transparently at museum endowments and their limitations, and consider the need for alternative sources of support in the months to come.
In founding Youth Concept Gallery, Mr. E transformed a dayroom and empty cell block into an art gallery and library with a corresponding art therapy curriculum.
Students at some of the most renowned art universities in the country, including the Rhode Island School of Design, Yale, and NYU Tisch, are sounding alarm bells about their schools’ handling of the COVID-19 crisis.
Strict historic preservation codes often favor aesthetic interests over energy-saving initiatives like solar panels — but the material and financial considerations play a part, too.
Hassinger worked collaboratively with the Pearl City community to create a version of their “Tree of Knowledge” at the Boca Raton Museum of Art, its “roots” composed of twisted, flowing rolls of newspaper.
With Justice for All — Shonibare’s contribution to Singapore Art Week — the artist represents the multiplicity of voices of a contemporary globalized society.
Calder Brannock was told he was just transporting an empty vitrine from the National Archives in DC north toward New York. That wasn’t the full truth.
The first thing his gallery colleagues asked when he emerged from the elevator: Was the art okay?
Being an art handler means belonging to a patchwork quilt of professional networks, but translating goodwill into solidarity requires significant effort. One day, you might have to entrust a colleague with your life.
The art world conditions its workers to accept subpar safety standards and low salaries in the name of high culture. And because art handlers frequently hop from institution to institution for jobs, issues are typically handed off to the next wave of workers.
Over the summer, Hyperallergic interviewed dozens of art handlers about the variable conditions of their workplaces. This week, we are bringing their stories of accident and injury into the light.
Artist Mari Katayama uses objects both to reference her body and to submerge the viewer in a world where the expected limits of the bodily form are reimagined.