We love representation, the power of signifying, and the incisiveness of well-argued critique, but by themselves, these tools won’t effect structural change.
Institutional trauma is real.
The cultural landscape has taken more blows in 2020 than ever before in order to stay afloat during the pandemic.
From exhibitions to online projects, here’s a rundown of work that has sparked joy, challenged, moved, or otherwise stuck with me through this hell of a year.
These are the stories that left their mark on me during 2020, for better or worse.
Our favorite movies of 2020, brought to you by the writers and editors of Hyperallergic.
I developed the bad habit of falling asleep at night to reruns of Governor Cuomo’s daily COVID briefing performances.
Emails started to change toward the end of March: “I hope this message finds you well, despite it all,” wrote people who would otherwise never express any interest in my personal life.
This year-end issue of the Hyperallergic Special Edition consists of reflections, that acknowledge the struggles that the Hyperallergic team — staff writers and editors — experienced right along with our readers, while also keeping in sight the exhibitions, events, protests, and initiatives that buoyed us.
In this wide-ranging conversation, artist and technologist An Xiao Mina discusses the election cycle and the way propaganda is and isn’t being used.
If contemporary echoes of fascism have brought the 1930s and ‘40s troublingly to mind, it’s worth recalling that modern propaganda became a global enterprise during the First World War.
Like Trump, Spanish dictator’s appearance was not that of a majestic ruler. He had a team who studied propaganda methods and traveled to see posters, exhibitions, and ceremonies first hand.