Arts

It’s been 55 years since Warhol hired a lookalike to prank students at the University of Utah. What lessons on celebrity and capitalist consumption did his hoax reveal?

From ancient times to the present day, join us as we pay tribute to these otter-ly charismatic creatures in various visual media.

Columbia University exhibition thwarts the de-politicization of postwar abstract art with a series of provocative questions. 

This week, a Keith Haring drawing from his bedroom, reflecting on Theresa Hak Kyung Cha, you’re not descended from Vikings, the death of cursive, and more

Eros Rising at New York’s Institute for Studies on Latin American Art demonstrates that eroticism might be closer to the cosmic than to the terrestrial in its infinite manifestations.

I was curious to see Casteel’s first exhibition since her New Museum show. I was not disappointed.

Stephanie Syjuco’s exhibition Double Vision points to the role that museums play in perpetuating narratives about the people, places, and events of the American West.

Characterizations of the artist’s newest work, and that of other White land artists of his generation, sometimes ignore questions of place and locality that are central to Indigenous thinking.

Jacqueline von Edelberg is “gently curating” an interactive memorial to the victims of the Highland Park mass shooting in Illinois.

Finding her subject matter in ordinary, everyday encounters, Levinthal hints at a subject’s interiority and to the way strangers are separated from each other.

With the numerous self-portraits Monks has painted throughout her career she offers her “self” to the viewers while also generating a sense of dissolution.

Condorelli considers how our modes of seeing and reproducing images and environments might develop, questioning how we see — and how we might see differently.

“Artists can provide visual stories as points of entry into conversations about the health of forests, and the destructive and healing aspects of fire,” says Saskia Jordá.

Critics of the project say artist Dries Depoorter is engaging dangerously with surveillance culture.

To see Upson’s memorial exhibition at Sprüth Magers is to absorb the full intensity of the artist’s explorations of trauma, vulnerability, and abjection.

Local artists and curators took issue with a New York Times report announcing the demise of the local art scene in light of the departure of two blue-chip galleries.

Several artists told Hyperallergic that they had to learn about the event just a day before it opened.

The second Black woman ever hired as a New York Times staff photographer, Agins built her career at a time when photo editors gave very few assignments to women — much less to women of color.

The Utah Museum of Fine Arts presents artworks that make visible the quality and inequality of what we breathe.

The artist’s Freshwater installation at Philadelphia Contemporary features a living, breathing fountain, mussels and all.