Good morning. It seems like just yesterday that we were feeding silly prompts like “sea otter in the style of Vermeer” into AI image generators and reveling in the results, but in recent months, the threats of generative technologies have become ever-present for artists. In a small but inspiring victory for humans and a frankly embarrassing turn of events for robots, an artist submitted a real photograph to an AI image competition — and won. See the photo, a sweet portrait of a flamingo only a person could capture, below. There’s more in today’s newsletter, including our mid-month picks of New York shows you shouldn’t miss and Elaine Velie’s moving interview with artist Jimmy Wright for our ongoing Pride Month series.
Happy Monday and keep on making art, if only to beat out the bots. — Valentina Di Liscia, News Editor
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 | Jimmy Wright’s Hymns to Queer Nightlife“The sense of freedom I felt in New York had nothing to do with the art world,” the painter told Hyperallergic. | Elaine Velie
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SPONSORED
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You’ve seen his tornado, but do you know his name? An exhibition at the Muskegon Museum of Art explores how a farm boy from Kansas became one of the most influential painters in the US. Learn more
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IN THE NEWS
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Miles Astray’s photo of a pink flamingo on a shore was disqualified after it was selected for an award meant for AI-generated images. | Rhea Nayyar
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Police thwarted efforts to build a new Gaza Solidarity Encampment on the campus earlier in the week. | Angella d'Avignon
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The new phase of the 1-800 Happy Birthday art initiative aims to raise national awareness about the "epidemic of state violence." | Maya Pontone
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A new study challenges long-held beliefs about the physical spaces of Christian worship, proving that the emerging religion’s story is not immutable. | Sarah E. Bond
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ART & BOOKS
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From Niki de Saint Phalle to the subway, time is running out to see some of our favorite art in the city. | Hakim Bishara, Valentina Di Liscia, Rhea Nayyar, and AX Mina
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Accompanying a show at The Met, The Art of the Literary Poster examines the commercial, artistic, and political dimensions of the late-19th-century form. | Lakshmi Rivera Amin
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Eugene Richards’s sensitive photographs in Remembrance Garden are rooted in over 100 visits he took to the grounds after enduring COVID in 2020. | Maya Pontone
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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. |
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