Welcome to the weekend. We all know that women have been subject to objectification and physical scrutiny in art for centuries. Well, Renaissance painter Lavinia Fontana did something about it. The first woman artist to make a living through commissions, Fontana granted her portrait subjects a rare level of dignity and agency. Check out Ed Simon’s fascinating feature on the artist. This week brought the unfortunate news that the Washington Post has discontinued its weekly local art column, and employees at the Noguchi Museum stopped work on Wednesday to protest a museum policy that prohibits them from wearing the Palestinian headscarves known as keffiyehs. And AI is entering the world of art education, as Staff Reporter Isa Farfan writes, eliciting mixed responses. In reviews, Judith Stein tells the story of a friendship between Matisse and Renoir, as seen through their wonderful paintings at the Barnes Foundation, while Nancy Zastudil’s review of a New Mexico show shines a spotlight on the queer artists who shaped the Southwest. Meanwhile, Rea McNamara explores her personal experience as a curator and mother through the intersections of mothering and surveillance in the book Supervision. And make sure to read our Fall New York Art Guide — fall art season is just around the corner!
— Natalie Haddad, Reviews Editor
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The first woman to make her living from painting captured herself and other women in the ways they wished to be perceived. | Ed Simon
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SPONSORED
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NEWS THIS WEEK
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IN NEW YORK
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Your ultimate guide to this season’s major exhibitions and art events around the city.
We can’t promise you won’t get lost in a maze of booths, but we can steer you to the fairs worth the trip. | Rhea Nayyar and Maya Pontone
Steve Wasterval stashes his tiny paintings of Greenpoint locales in traffic cones, behind telephone pole flyers, and even at Citi Bike stations. | Rhea Nayyar
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SPONSORED
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FROM OUR CRITICS
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New Encounters takes Matisse and Renoir out of their usual spots at the Barnes Foundation to shed light on the relationship between the two artists. | Judith Stein
Out West has no strict or static boundaries, no assumptions about or prescriptions for what 20th-century “queer art” in the region may have been. | Nancy Zastudil
The more time I spent at Four Chicago Artists, the more I wanted to know about the less familiar paths these artists took in their work.
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WHAT WE'RE READING
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Supervision provided me, as a curator/new mom, an entry point into how the labor that is mothering intersects with technology and surveillance. | Rea McNamara
Hyperallergic speaks with Walter Cooper, who wrote the book on queer history in Santa Fe, and Christian Waguespack, who curated the show on it. | Jordan Eddy
Rescue Party, a selection of comics from around the world, feels like both a celebration and a memorial: We made it. | Sarah Hromack
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MORE ON HYPERALLERGIC
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This month: Tetris competitions, “adulting” amusement parks, the pitfalls of activist art, and more. | Dan Schindel
At the Jamaica Center for Arts and Learning, an exhibition pays tribute to genres such as jazz, reggae, and bomba through visual mediums. | Maya Pontone
New university programs are incorporating generative tools into studio art courses while attempting to address the murky ethics of the technology. | Isa Farfan
This week: Noname’s Radical Hood Library, misogynoir and Kamala Harris, Marina Abramovic’s take on Barbie, Impressionism puns, and much more. | Lakshmi Rivera Amin
Residencies, grants, and open calls from Princeton University, the Paul & Daisy Soros Fellowships for New Americans, and more in our monthly list of opportunities for artists, writers, and art workers.
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THIS MONTH'S MINI
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Hyperallergic Mini Art Crossword: August 2024Indigenous symbols reclaimed, rap battles won, and pets in museums in this month’s bite-sized puzzle. | Natan Last
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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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