Hyperallergic talks to the curator, writer, and former museum director about her new book Culture Strike: Art and Museums in an Age of Protest.
Verso
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A Defiant Manifesto for “Glitch Feminism”
While glitches are often cast as something to be worried about, Legacy Russell asks whether we can apply a logic of using error and mistakes as a way of opening up space.
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How John Berger Restores Our Relationship to Art
A new biography on Berger reveals a writer who to this day speaks most eloquently and passionately to our frustrations, fears, hopes, and desires.
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Reader’s Diary: Henri Lefebvre’s ‘Critique of Everyday Life’ (Conclusion)
Encore un effort on Lefebvre. My first go was nothing but objections. Round two started out with admiration but I soon found myself airing further criticism — almost against my will…
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Reader’s Diary: Henri Lefebvre’s ‘Critique of Everyday Life’ (Continued)
“Information is increasing while direct contacts are in decline. Relations are becoming more numerous while their intensity and authenticity are diminishing,” wrote Henri Lefebvre in 1961, and by 1981 he understood that this would entail “a solitude all the more profound for being overwhelmed by messages.”
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Reader’s Diary: Henri Lefebvre’s ‘Critique of Everyday Life’
The writings of Karl Marx will always remain a source of insight and inspiration, but vast swaths of the Marxist literature that exerted such a fascination when I was younger now seem barren of interest.
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Reader’s Diary: ‘The Brexit Crisis’
The presses roll fast when there are no presses to roll.
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Reader’s Diary: Max Stirner’s ‘The Ego and His Own’
In a recent long, too long, much too long article in the London Review of Books, Andrew O’Hagan quoted John Lanchester paraphrasing dear old Edmund Wilson to the effect that poets feel differences among themselves as tantamount to lying.
Posted inArt
Vik Muniz Painstakingly Reconstructs the Backs of Famous Paintings
A gallery at the Mauritshuis museum in the Hague now appears in the midst of installation, with paintings propped against the walls, the backs of their frames exposed to visitors.
