Arts

Join Hyperallergic for an online conversation with curator Dan Cameron on February 22 at 7pm (EST).

It is as if, after two years of staring at works on screen, galleries knew that audiences were hungry for artwork so physical, you could devour them with your eyes.

This week, the world’s largest black diamond, Francis Ford Coppola is spending $120M of his own money to make a film, post-colonialism in the post-Soviet space, Ikea’s quest for the last of Europe’s old growth forests, and more.

Instead of believing I’m helping local artists by bringing international art to Chiloé, the best contribution I can make may be to help provide a venue where local artists and artisans can show their art for the benefit of each other.

This year’s theme, Hearsay/Heresy, allowed curators and artists to play with dissent, nonconformity, and truth versus fact.

Snake whisky still life and other stories tackles the stereotyping, misrepresentation, and appropriation of Indigenous cultures.

While I have seen Goodman’s self-portraits numerous times, the unlikely combination of raw pathos and tenderness always stops me in my tracks.

Gisela McDaniel captures the voices and memories of her sitters and offers them the opportunity to narrate their own histories.

Most everything in this show, is unsure, a maybe, might be there, might not be, could fulfill your hopes, might leave them by the side of the road.

The group of self-identified idealists, active until 1942, created nonrepresentational paintings of and from the creative imagination.

Can electronic generative art be interpreted as performance with machines instead of bodies? What if we are too focused on results, rather than the process?

Though masonic fraternal groups have existed for centuries, their rites and methods have long been shrouded in secrecy.

Uprooted and soulless, the stone and metal statues at Memento Park have long outlived the world that gave birth to them.

Works by Bill Aron and Yevgeniy Fiks chronicle the experience of Soviet Jews who tried to leave their homeland.

The Silk Road Songbook’s polyvocal strategies to share diasporic experiences are a radical reversal of what expressions of resistance and persistence are expected to look like.

Amid today’s rampant wealth consolidation and labor exploitation, contemporary art has shifted from bourgeois keepsake to active participant in the working-class struggle.

Fighting the Western perception of Iran as a hostile war zone, Mohammed Afkhami began collecting artworks by Iranian artists to highlight the country’s rich cultural production.

The paintings that form the heart of Ceirra Evans: It’s Okay to Go Home offer a more complex and generous response to the stale and sneering stereotypes of Appalachia.

This week, Vice Media helps the Saudi Arabian regime, Hollywood’s favorite NYC locations, the reality behind why celebrities are talking up NFTs, a Pacific island nation welcomes digital residents, and much more.

A massive strike wave in the 19th and 20th centuries redefined how painters, illustrators, and photographers advocate for the working class.