With Moonage Daydream, director Brett Morgen sought to let Bowie’s music and philosophy hit in a whole new way, immersing audiences in an IMAX experience.
The second Black woman ever hired as a New York Times staff photographer, Agins built her career at a time when photo editors gave very few assignments to women — much less to women of color.
The curators of Son de Allá y Son de Acá emphasize the importance of creating pathways and fellowship for Mexican-American, Chicanx, and Latinx artists throughout the Southwest.
For years, Eye Filmmuseum’s Jan Bot has turned film fragments into digital experimental shorts. Now, with the project ending, those shorts will be archived via NFT.
Run entirely by volunteers, Interference Archive is a true alternative to the city’s market-driven gallery scene.
Hyperallergic talks to historian Isaac Butler and curator Livia Bloom Ingram about how performance technique evolves and what is and isn’t method acting.
Hyperallergic talks to programmers Róisín Tapponi and Jed Rapfogel about their Anthology Film Archives retrospective and formative erotic film experiences.
The acclaimed composer and noise artist talks to Hyperallergic about his Pulitzer Prize-winning composition “Voiceless Mass.”
Despite the fact that Lees works on paintings for as long as 30 years, they don’t appear overly precious. Instead, they seem human and vulnerable.
We spoke with three public school art teachers from the Movement of Rank-and-File Educators (MORE) on their efforts to reform New York’s largest teachers’ union.
Her short film Freshwater is now playing at the Museum of Contemporary Art Detroit.
We spoke with workers at the International Documentary Association about their successful fight for a union.