Good morning. If, like me, you’ve been on a big Caravaggio kick ever since devouring Netflix’s Ripley series, today brings a special treat.
Good morning. If, like me, you’ve been on a big Caravaggio kick ever since devouring Netflix’s Ripley series, today brings a special treat. Standing before “The Martyrdom of Saint Ursula” (1610), Caravaggio’s alleged last painting created three weeks before his death, critic Michael Glover had a sense that its subject was “contemplating an inevitability.” Read his haunting take on the final brushstrokes of the master of light and darkness. Also today: With soaring housing prices and persistent inflation, how are artists in New York getting by? Just barely, according to a new survey on the financial circumstances facing creative workers across the state. Staff Reporter Maya Pontone breaks down the most glaring statistics. Japanese art at The Met, Bruno Catalano’s oddly unsatisfying sculptures of fragmented "travelers," and more below. — Valentina Di Liscia, News Editor | |
|
|
|
You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a paid member. | | Become a Member |
|
|
|
| | | Just two paintings are in The Last Caravaggio, both in perplexed mourning over their subject matter, and both emerging from dark places. | Michael Glover |
|
|
|
SPONSORED | | | | Co-curated by Teresita Fernández and Lisa Le Feuvre, Executive Director of Holt/Smithson Foundation, this exhibition places two artistic practices in an intergenerational conversation. Learn more |
|
|
|
IN THE NEWS | | | | More than half of respondents said they earned under $25,000 a year. | Maya Pontone |
|
| | | | The Ancient Roman room, thought to have been used as a shrine for ritual activities, is estimated to date back approximately 2,000 years. | Maya Pontone |
|
|
|
LATEST IN ART | | | | A show of Japanese art at The Met suggests that things might not work out for us in our own end times, but it’s worth trying. | AX Mina |
|
| | | | Bruno Catalano’s bronze figures are a devastatingly hyper-literal and heavy-handed interpretation of loss. | Rhea Nayyar |
|
|
|
You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a paid member. | | Become a Member |
|
|
|
Hyperallergic, 181 N 11th St, Suite 302, Brooklyn, NY 11211, United States
|
|
|
|
|
