Good morning. I think we’ve all learned our lesson about not paying too much attention to everything Trump says, because there are limits to what he can actually do (thank God) and because it’s frankly quite boring.
Good morning. I think we’ve all learned our lesson about not paying too much attention to everything Trump says, because there are limits to what he can actually do (thank God) and because it’s frankly quite boring. However, it must be said that his recent executive order to terminate diversity, equity, and inclusion (DEI) initiatives in government agencies, which he refers to as “discrimination programs” (!?),is just ... icky. And his call — again — for federal buildings to adhere to “classic architectural heritage” is gross. The man has no taste, and seems not to understand what the word “discrimination” means. Our StaffWriter Maya Pontone reports on both. Also today, our Reviews Editor Natalie Haddad visits Sonia Boyce’s latest show, Ed Simon on the art of Julia Warhola (Andy Warhol’s mother), free cultural spaces to visit in New York, and lots more. And don’t miss Denali Jöel’s piece on the art of Jamaica’s Jonkonnu festival — the first in our series focusing on underrepresented craft histories, researched and written by the 2024 Craft Archive Fellows and organized in collaboration with the Center for Craft. — Valentina Di Liscia, News Editor | |
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| | | Jonkonnu is not just a festival, but a living archive of intersectional Black life that can only be brought to life through those willing to preserve it. | Denali Jöel |
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LATEST REVIEWS | | | | Shimmering with color and sound, her exhibition Feeling Her Way at the Art Gallery of Ontario feels both expansive and enveloping. | Natalie Haddad |
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| | | The calligrapher, illustrator, and mother to Andy Warhol lived with her son in New York City for decades, supporting and even collaborating with him on artistic projects. | Ed Simon |
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MORE FROM HYPERALLERGIC | | | | Residencies, fellowships, grants, open calls, and jobs from NXTHVN, the John Michael Kohler Arts Center, and more in our monthly list of opportunities for artists, writers, and art workers. |
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MEMBER COMMENTS | Mark Morey on “How Friars Changed the Art of the Renaissance” | This is the most interesting article I’ve seen in awhile. I know that Hyperallergic is largely concerned with contemporary art and the things contemporary art is concerned with nowadays, but it fills me with joy to see an article like this. Not just because it’s about “old stuff,” but because Mr. (Dr.?) Larkin cares enough to take big institutions to task for hesitating to tackle major changes in thought regarding early Renaissance art. I’m more of a northern Renaissance guy if I’m anything, but the issues in this article seem to me to be pretty crucial to a pivotal period in European art. Bravo! | Amy Cheng on “How Friars Changed the Art of the Renaissance” | I am glad to learn about the Franciscan Friar’s influence, something I had not heard of before. However, I saw the show and I object to Pietro Lorenzetti being grouped with the other three artists. Pietro was a very weak painter. He does not deserve to be grouped with Duccio, Martini and his brother Lorenzo, who are truly masterful. I feel Pietro has been riding his younger brother’s coat tails for far too long. The brothers had their own studios: I suspect because Lorenzo did not want his mediocre brother working with him. |
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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. | | Become a Member |
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