Hear from artists, community activists, and cultural theorists as they discuss the impact of public artworks and the role of museums in achieving equity.
A bright pink silicon menorah in the Jewish Museum, a pair of Hanukkah hymns from a medieval prayer book in the New York Public Library, and other gems.
We Fight to Build a Free World prompts the question of whether political artworks can truly convey their own radicalism within the halls of an Upper East Side museum.
The artist shares his thoughts on museums, power, art, and ideology.
An archival show has to be judged, in part, by the depth to which it mines the archive.
For a brief moment, Soviet Russia looked like Camelot, and artists like Marc Chagall, Kazimir Malevich, and El Lissitzky banded together to paint the way toward that utopian future with the People’s Art School in modern-day Belarus.
If there is a single point of agreement in the posthumous literature on Chaim Soutine, it is that the Lithuanian-born Jewish artist is surrounded by legend.
The Jewish Museum hosts a conversation about Soutine’s gestural painting and still lifes, moderated by Hyperallergic’s John Yau.
Each of these exhibitions showed me something I had not seen before.
Stettheimer was born into a wealthy, financially secure Jewish family, and she never had to work. For some people, her wealth means that she did not suffer enough to be an artist, and therefore her work does not have enough gravity.
Opening on March 17 at the Jewish Museum, The Arcades: Contemporary Art and Walter Benjamin intends to reflect the sprawling text in both content and form.
Take Me (I’m Yours) is a re-staging of a show that first appeared at the Serpentine Gallery in 1995, when it was conceived of by curator Hans Ulrich Obrist and artist Christian Boltanski. In this 2016 New York edition, curators Obrist and Jens Hoffmann feature more works by 42 artists.