For The Better

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.