In advance of the museum’s opening, a series of rotating exhibitions in the Bronx Terminal Market offers a preview of what’s to come.
A new Bronx location for the Universal Hip Hop Museum is set to open its doors in 2024.
Hip-hop once offered more than stereotypes of masculinity and femininity, but Contact High feels focused on valorizing commercial might above all else.
The upside of an exhibition about hip-hop architecture, a movement in its infancy, is that it’s hard to pigeonhole. But it’s also hard to determine what visually brings all the works together.
The Sugar Hill Gang, Public Enemy, Queen Latifah, LL Cool J, and other hip-hop pioneers feature in the newly digitized material from Cornell University.
Miley Cyrus does not lend credibility to hip-hop, nor can she take it away.
With their paintings of bacchanalian revelry and swaggery Dionysus, Old Masters like Caravaggio, Poussin, and Rubens were a bit like the hip-hop videographers of their day.
Between May 1979 and January 1987, the East Village Eye breathlessly covered the East Village art scene. Indiscriminate in its interests, the magazine charted the rise of hip hop, graffiti, and punk, and is widely credited with contributing to the intermingling of several New York scenes.
Cecilia Azcarate’s art history tumblelog B4XVI pairs pictures of rappers with historical sculptures, paintings, and statues from the Metropolitan Museum of Art’s collection.
Charlie Ahearn is known as an independent filmmaker, but he’s much more than that. He’s perhaps better described as a community filmmaker. For his films The Deadly Art of Survival (1979) and Wild Style (1983), he connected with local communities of young New Yorkers (many of them teenagers) and worked with them to make movies that starred these amateur actors essentially playing themselves.
TORONTO — Appropriation and amalgamation take center stage at “Beat Nation,” organized by the Vancouver Art Gallery and currently on view at The Power Plant in Toronto, a show focusing on the influence of hip hop culture in Aboriginal contemporary art.
Last week, I witnessed an art event I thought would possibly never occur: the Museum of Modern Art made a serious step forward in recognizing the cultural importance of graffiti writing and hip hop at their fascinating panel discussion, “Writers and Writers: Narrative on the Page and in the Street.”