Last week, the Detroit Institute of Arts (DIA) acquired “Bird” (1990), a striking sculpture by David Hammons.
For one week, the monumental flag bearing the text, “A MAN WAS LYNCHED BY POLICE YESTERDAY” flew outside Jack Shainman Gallery’s West 20th location as Dread Scott’s unfortunate update to the nearly identical one the NAACP once flew outside its Manhattan headquarters.
It doesn’t seem right to call the latest issue of Aperture — its first issue dedicated to African American lives as represented by the medium of photography — a magazine. It is a powerhouse book; it does so much heavy lifting.
In our third episode of the Hyperallergic Podcast, we talk to artists Hank Willis Thomas and Eric Gottesman about their For Freedoms Super PAC.
At Fort Gansevoort Gallery, there is a new art exhibition with titular claim to the annual Division 1 men’s college basketball tournament.
Part of the exhibition curator’s goal was to challenge preconceived notions of what race is, as well as the idea that it’s definable, that it even exists.
People who encountered a vending machine dispensing free compliments in the Meatpacking District or a group of women knitting and unraveling white aprons in Union Square over the weekend might have considered them part of New York City’s continually anomalous street life, or felt an odd pang of déjà vu.
“The truth is I love you,” reads the sign as you enter Brooklyn’s MetroTech Commons — not a bad way to pique the interest of passersby, appealing to their vanities and insecurities.
Digital artifacts manifested as public sculpture populate the Public Art Fund’s Image Objects in Lower Manhattan’s City Hall Park.
The idea is so ingenious, it almost seems obvious: take advertisements and remove the text that makes them so, leaving only a string of images behind.
“And who else is there?” A staff member at a well-known photo festival and I were nearing the end of an awkward conversation.
What kind of painting do you make in the face of the killing of an unarmed civilian by a police officer? What type of drawing sums up the pain of more than a century of institutional racism?