Adobe Flash has the reached the end of its life. Artists and digital archivists share thoughts regarding its demise and what open source tools are accessible to archive old Flash-based works.
HaRaKa Platform’s Cairo KitKat Club pales in comparison to virtual performances mounted with only a fraction of the institutional support.”
Serpentine Galleries’ “Future Art Ecosystems” emerges as an odd but occasionally insightful case study of the impact of the broader institutional shift to the digital realm.
44.4 Mothers/Artists Collective is making space in Ottawa and the Outaouais region for artists who are mothers, who have been habitually overlooked in the art world.
4 Nights at the Museum, a “weird-ass visual podcast,” is a good example of responsive curating amid the pandemic.
Eight on- and offline exhibition spaces for the second-wave lockdown.
In anticipation of an unusual election night and beyond, curators Lisa Kathleen Graddy, Claire Jerry and Jon Grinspan discuss their new (slower) practice of collecting political ephemera.
Rea McNamara, the new Emily H. Tremaine Journalism Fellow for Curators, offers insight into the evolving world of curated online feminist spaces and what role they do and can play in our culture.
A steadfast feminist in a male-dominated art world, Joanna Drew was among a handful of individuals who shaped contemporary visual art in Great Britain post-World War II.
Both the J. Paul Getty Trust and the Metropolitan Museum of Art have created online databases that bring thousands of artworks to screens across the globe. Here’s what most folks download.
As a non-specialist Rene d’Harnoncourt had a rare ability to engage deeply with objects across time, cultural specificity, and form.
Curators Jaishri Abichandani and Natasha Becker unpack Perilous Bodies, Radical Love, and the upcoming Utopian Imagination exhibitions — three exhibitions that formed one series for the Ford Foundation Gallery’s inaugural year.