Arts

Artist Maya Stovall questions the altruistic intentions of anthropology while also attempting to redefine the discipline as a site of creativity and community empowerment.

Rather than accentuating his radicalism, the Metropolitan Museum of Art’s new exhibition makes Jacques-Louis David a compelling case study in opportunism and survival.

The notion of stories, bodies, and selves that change incrementally and radically as they repeat pervades the mesmerizing world of Glaessner’s Phantom Tail.

In a post-Soviet era we should consider how Russians continue to benefit from colonialism and imperialism in the realm of culture.

Ryan harnessed visual art as a means for creating poetry through the relatively new, nonverbal idioms of American abstract art.

Central to The Medieval Body at Luhring Augustine is the tension between the bloodied or bruised abject body and the beatified soul.

For the first time in three centuries the Belvedere Museum is displaying creations by artists who are not Austrian and have no connection to Austrian art.

Mattai’s art is a searing indictment of the manufactured monstrosity of immigrant identity deeply embedded in the Western imagination.

The images in Vik Muniz’s exhibition Scraps tempts that implicit human tendency to fill in the blanks, complete that which is partial, fragmentary.

In Danica Lundy’s paintings it seems that I can see two places at once, inside and outside my body.

It can be tempting to compare these historical Indian paintings with familiar examples from the Euro-American canon but that would do a disservice to these artworks, which are revelatory on their own.

This week, the artist representing Ukraine at the Venice Biennale speaks, Israel’s Holocaust museum is embroiled in controversy allegedly trying to protect an oligarch, Ray Johnson in Chicago, the problem with queer influencer activists, and more.

Perhaps Ai is untouchable. If that is the case, where were we left when judging his new art?

With her portraits, Jenny Dubnau seems to be drawn to that psychologically charged instant of the momentary encounter.

Her work transports viewers into a timeless space where beauty, community, and the natural world are valued above all.

While there’s room for debate about who is and is not a Karen, one critical component is the stench of entitlement and a pressing need to appeal to authority.

On March 5, join Hyperallergic and Jack Shainman Gallery for a conversation with Chairman Fred Hampton Jr. and Akua Njeri, moderated by Seph Rodney.

Jones’s playful asymmetry doesn’t seek so much to declare what order should look like as it is simply engaged in ongoing negotiations around balance and presence.

I was left wondering whether more of a connection could be made between some of the artists and artworks and the artists of Gee’s Bend.

At the New Mexico State University Museum, performers mine the history of this town that was founded around 1903.