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.
The street with Francesco Borromini’s marvelous façade is called Via di Propaganda; learning its history reveals the complex relationship between art and indoctrination.
This edition, we look at the origins of the term propaganda, some 20th-century incarnations, and how propaganda is playing out during the 2020 US election.
At a party in a vacant house full of young people, the reggae pounding and ganja smoke thick in the air, Gates was struck by the joylessness of the revels. The mood was brittle. Faces were set hard. Nobody laughed or even spoke.
Sahelian forms of artistry are a manifestation, or a visual translation, of an overarching ontology. Its plastic language can be understood as the language of a philosophy of the force of life.
This essay is an account of truly learning to see what is and is not present in these objects.
The book and exhibition center prisons in contemporary art and culture and the robust world of art-making inside US prisons.
Over the last decade Jeffrey Gibson has moved from creating lyrical, abstracted acrylic landscape paintings with beaded and sculpted paint elements to a dizzingly multi-varied practice, which interfaces with the rubrics of fashion, gender, and ethnicity.