This week we saw unsettling images of police in riot gear arresting and brutalizing pro-Palestinian students who’d set up encampments on dozens of American college campuses. Our reporters were at Columbia University, CUNY, the New School, the School of Visual Arts, UCLA, USC, and other campuses to record the facts on the ground.
Meanwhile, art fair season kicked off in New York. Read our contributors’ impressions from Frieze, NADA, 1-54 Contemporary African Art Fair, and more.
Also this week: Charley Burlock explains why the Vessel in Hudson Yards should remain closed for good, Christine Hume tells the story of a work about miscarriage that was too much for the art world in 1974, and former Hyperallergic editor Jasmine Weber remembers Faith Ringgold, whom she met in the last years of her life.
There’s that and more, including a report on the Vatican’s peculiar pavilion at a functioning women’s prison in Venice, our monthly NY and LA exhibition guides, and David Carrier's review of a new Keith Haring that leaves much to desire. Enjoy your weekend!
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— Hakim Bishara, Senior Editor
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Radiant is a bountiful source of information about the late queer artist’s life and career, but it says oddly little about his art and its enduring legacy.
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David Carrier |
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STUDENT SOLIDARITY WITH GAZA
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Become a Member
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OPINION
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The late artist fiercely reckoned with the status quo, leaving the art world better than she found it through a rich legacy of Black feminist activism and artmaking.
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Jasmine Weber |
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In 1974, the San Francisco Art Institute isolated Joanne Leonard’s series Journal of a Miscarriage from the rest of the works in her solo show. Has anything changed since?
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Christine Hume |
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Why the Vessel Should Remain Closed for Good
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It’s time to acknowledge the Hudson Yards staircase sculpture for what it has become: a memorial.
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Charley Burlock |
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IN AND AROUND NYC
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Vibrant colors and fantastical creatures are in abundance in shows by Sanam Khatibi, Julia Bland, Claude Lawrence, Annette Wehrhahn, and others.
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Hrag Vartanian, Hakim Bishara, Valentina Di Liscia, Daniel Larkin, and Natalie Haddad |
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Tucked away in a garage in Brooklyn, the colorful art space is one of the only galleries in the city devoted to the underappreciated medium.
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Aaron Short |
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Arlene Shechet’s muscular ceramics, Z. Cecilia Lu’s monstrous-yet-heartwarming assemblages, Lother Osterburg’s lonely sculptures, and more.
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Taliesin Thomas |
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Sci-fi, absurdism, and surrealism shine in this show, where the best works rely on pure imagination.
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Elaine Velie |
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The special attention to women artists highlights the importance of intersectional representation in the fight for inclusion.
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ET Rodriguez |
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DISPATCHES FROM VENICE
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Con i miei occhi (With my eyes), staged in a women’s prison, preaches visibility but operates on secrecy.
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Julie Baumgardner |
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The Venice Biennale’s Polish and Russian pavilions are both showing work by foreign countries, but their intentions and results couldn’t be more different.
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Gregory Volk |
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Power concedes nothing without a demand, and the tireless efforts of the Disability Arts Movement deserve both recognition and celebration.
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AX Mina |
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ALSO ON HYPERALLERGIC
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Kwame Brathwaite’s singular photography, Jackie Amézquita’s “soil paintings,” Sanaa Gateja’s paper beadwork, ancient pottery, and more.
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Matt Stromberg |
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This week, new US census categories, a dispatch from an art-framing shop, university crackdowns on student protesters, silly TikTok recipes, and much more.
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Lakshmi Rivera Amin and Elaine Velie |
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Residencies, grants, open calls, and jobs from The Bennett Prize, Ucross, Oak Spring Garden Foundation, and more in our monthly list of opportunities for artists, writers, and art workers.
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