Arts

While the South Asian diaspora is one of the largest and most widely dispersed in the world, the Indo-Caribbean community is often overlooked and excluded from discussions of South Asian art.

The Bay Area artist believed in shaping artists rather than relaying rules.

Open-ended, community based, and collaborative, “esolangs” serve as a reminder that digital art has other histories and other futures.

Working with what they had, Cass Corridor artists scrapped and repurposed anything they could get their hands on, attempting to find some salvation for their city through a literal process of salvage and reuse.

Throughout the 1970s and into the ’80s, artists in Los Angeles created organizations and exhibition spaces to develop the resources they lacked.

The close, careful, and subtle observation I found this year is representative of precisely why I continue to gravitate to this fair.

How do we counter stereotypes about Black mothers, while stressing the importance of memory, determination, love, and corporeality?

With two stellar retrospectives, one time-based installation, and several commissions by local artists, the Phillips Collection has dedicated its galleries to highlighting abstract work by Black artists.

A pioneer of street photography, Levitt worked in the most crowded and poorest neighborhoods of New York searching for the theater of everyday life.

Leroy’s canvases seem to be about age and decay — about the process and limits of recollection made manifest.

Classes like Anne Willieme’s are part of the burgeoning field of medical humanities, which aims to tackle the disciplinary divide between art and science.

Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).

This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.

Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.

Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.

Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.

Crys Yin’s subject is grief, which, for all that takes place in public, is largely a private matter.

With her clay relief sculptures, Brie Ruais probes the exit wound and its deep psychological implications.

In Doomscrolling, Rob Swainston and Zorawar Sidhu assume the task Walter Benjamin set for the articulation of history — to “seize hold of the past as it flashes up at a moment of danger.”

As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.