We live in restless times, and culture can barely keep up with the rapid tectonic shifts in American politics and the world in general. This week, we pay close attention to how art and memes have responded to Vice President Kamala Harris’s last-minute presidential run, Bibi Netanyahu’s divisive address to Congress, a fake student encampment for a TV shoot at a New York college, and more. In a new podcast episode, Editor-in-Chief Hrag Vartanian and contributor AX Mina name favorites from the ongoing 60th Venice Biennale and discuss the political theater that rattled the show’s opening. In other stories: the history of color charts, the algorithms that enable illicit bone trade online, Esther Pressoir’s indelible coolness, Fritz Scholder’s “non-Indian Indian” art, New York’s Upstate Art Weekend, Toronto’s art biennial, and more. We also remember beloved Baltimore-based artist, museum guard, and art writer Dereck Stafford Mangus, who died last week at age 46. As one of Dereck’s former editors, I was shocked and heartbroken by his sudden passing. Thanks for reading and have a great weekend. — Hakim Bishara, Senior Editor | |
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| | | Hrag Vartanian and AX Mina discuss what worked, what didn’t, and what drew political protests at the “Olympics of the art world.” |
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SPONSORED | | | | The Morgan Library & Museum celebrates 100 years of illuminating the creative process, presenting remarkable exhibitions and programs for its centennial. Learn more |
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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 |
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SHOWS ON OUR RADAR | | | | Scholder, who called himself a “non-Indian Indian,” refused to conform to expectations and rejected limiting definitions of his identity as Native American. | John Yau
The Real Thing at the Met Museum shows that the advertising tactics of commercial studios were in dialogue with avant-garde art in the 1920 and ’30s. | Julia Curl
An exhibition explores touch, from the possessive love of a mother holding her child to the violent and coercive contact that sometimes takes place between strangers. | Iman Sultan |
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SPONSORED | | | | Moi Aussi is uniting artists from all over the world around an unusual canvas: a pair of glasses. Learn more |
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BOOKS WE'RE READING | | | | In 1927, Pressoir carried 30 pounds of art-making supplies on a bike ride from France to Italy. It was just the beginning of an inimitable artistic journey. | Bridget Quinn
Damien Huffer and Shawn Graham’s These Were People Once mines the illicit online sale of human remains and the social media algorithms that enable it. | Erin L. Thompson
Three tomes give new meaning to “full color” by chronicling the visual history of color charts, swatches, palettes, and more. | Sarah Rose Sharp |
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MORE ON HYPERALLERGIC | | | | Buoyed by the beautiful weather, a constant stream of visitors showed up eager to learn about a cultural scene that continues to grow. | Hrag Vartanian and Maya Pontone
The triennial maps what it means to be an artist from here, from somewhere else but now living here, or from here but living somewhere else. | Rea McNamara
An algorithm organizes a unique ordering of scenes for each screening, meaning there are millions of versions of the film. | Dan Schindel
The artist’s continued retrofitting of ideas has led to a body of work that feels sustained, powerful, and continually defiant of categorization. | Erin Joyce
This week: The Bushwick aesthetic goes global, common misconceptions about the Palestinian keffiyeh, Edna Mode is brat, and who can really walk on water? | Lakshmi Rivera Amin
Residencies, grants, and open calls from Palm Beach Atlantic University, AICA International, and more in our monthly list of opportunities for artists, writers, and art workers. |
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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 |
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