Good morning. Remember slow news days? I don’t. Today, Aaron Short reports on the contentious sale of a Chelsea building that could displace dozens of artists and gallery owners. Beyond New York City, Staff Writer Isa Farfan looks into the Montgomery mayor’s calls to remove a billboard artwork critical of Trump by the art collective For Freedoms that he says “politicizes” the history of Selma’s 1965 Bloody Sunday. The story is more complicated than it sounds, so read the whole article below.
In art, Hyperallergic Editor-in-Chief Hrag Vartanian reviews Alexis Trice’s exhibition presented by the Miami gallery KDR in Manhattan’s Long Story Short gallery, calling it “a fairy tale-inflected world of sentimentality and memory.”
Also today: remembering trailblazing artist and gallerist Alonzo Davis, Ruth Hallows on Chilkat weaving, Judith Bernstein’s anti-oligarch art, and more. — Valentina Di Liscia, News Editor
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You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a member. |
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In the New York painter’s lyrical scenes, the pearl serves as a metaphor for turning pain into treasure. | Hrag Vartanian |
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SPONSORED
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To celebrate Yoshitaka Amano’s solo show at LOMEX, Platform presents an exclusive capsule of official merch and artworks. Shop signed posters, collector’s t-shirts, and works on paper from the legendary artist.
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IN THE NEWS
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UPCOMING EVENT
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The 2024 Craft Archive Fellows will present their research on underrepresented craft histories in an online event hosted by the Center for Craft and moderated by Hyperallergic associate editor Lakshmi Rivera Amin. | Center for Craft and Hyperallergic
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SPONSORED
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Providing financial resources and tailored opportunities, the foundation fosters growth and visibility for rising Native talent. Learn more
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LATEST IN ART
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That Bernstein’s political art is still so relevant is chilling, but like the first time around, it remains a source of comfort that we have her to lead us through. | Natalie Haddad
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It’s clear that this exhibition was put together by a bunch of absolute nerds — and that’s a compliment of the highest order. | Lisa Yin Zhang
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Colonial law forced many of our art practices into a deep slumber. Now, I am the first person in the US from my community to hold the skills to craft Chilkat dancing blankets. | Ruth Hallows
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MEMBER COMMENT
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David A. Ross on “National Gallery of Art Ends Diversity Programs”
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The only silver lining here is that the National Gallery under the direction of Kaywin Feldman immediately brought an extraordinary enhanced level of equity and diversity to the museum when she became the the museum’s fifth director in 2019. Not only did she and her team increase the diversity of the NGA senior staff, but the programming of the museum, while remaining at a very high level of academic and intellectual quality, was made far more engaging to a much broader audience. It has truly become, for the first time in its founding in 1937, a truly national gallery. This is not to say we should not worry about the future of the NGA, as
it’s impossible to predict the ways in which Tump 2.0 will attempt to destroy all that is good and decent in our nation. |
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You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a member. |
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