Inspiration

The Museum at FIT presents the first exhibition on the cultural history of fashion and psychoanalysis, bringing together nearly 100 looks by

By Leni Cadle, 2nd year Art History student Part of our theme ‘video art’ Migues Soares, born in 1970 in … More

The artist’s bronze sculptures for the museum’s exterior suggest the merging of the natural and the artistic, the real and the mythical.  The artist encourages conversations about race, memory, and justice actively suppressed during the Trump era. Maroun Tomb’s 1947 show of oil paintings was largely lost in the Nakba. Now, artists reimagine what could have been. “How people are perceiving me is not my business,” the performance artist and model told Hyperallergic. “What I can do to make the world a better place is my business.” For all the whispers about the art market downturn, newcomers prove the New York fair can still serve as a stage for fresh voices. Roman Susan will host its last projects this month ahead of the demolition of its historic building by owner Loyola University Chicago.  Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.

Get the latest art news, reviews and opinions from Hyperallergic. On the opening night of Printed Matter’s NY Art Book Fair (NYABF) at MoMA PS1 yesterday, September 11, I nearly missed the interactive 4N Consulate exhibition tucked away on the second floor. Organized by studio Special Special’s 4N Magazine, a twice-yearly publication highlighting international artists working in the United States, the 4N Consulate is both absurdist and painfully realistic — a parody and a reality check in one. Each personalized faux-passport “travel document” designed by artists Susana Gomez and Angel Tianying Yu invites American citizens like me, who “don’t typically experience the exhausting, over-complicated process of obtaining travel visas or visiting foreign consulates,” to confront the arbitrary nature of the immigration system. This 19th edition of the fair returns to the Queens art museum after a couple of years in a Chelsea redbrick, which, in hindsight, offered more space to breathe and connect. (Pro-tip: Bring a handheld fan.) Still, nearly every indie press I visited brought the same irreverent spirit of collective making and solidarity that explicitly defies borders and imperialism, e

On the banks of a glacial river high in the Swiss Alps, in a subterranean stone room among the remnants of a 12th-century Benedictine monastery, one can find the photographs of Gabriele Stötzer.The images are small and rudimentary, often overexposed and frayed at the edges. The artist is young, often unclothed, her body bound in lacerating twine or covered in a clear, viscous fluid. She painted directly onto portraits of herself or her friends; flowers sprout from the nude body of Nora, a companion. Satanic figures rise like ashen smoke from a hand as it holds the yolk of an egg. From a glass case, ceramic eyes stare out—pupils wide, nerves like vines—on stalks that connect to a limp, lifeless tongue. What would the young Gabriele make of such a display? I ask Stötzer over coffee in Zurich the day before the exhibition, titled “Mit Hand & Fuss, Haut & Haar (With Hand & Foot, Skin & Hair)”, opened at Muzeum Susch. She smiles at the thought. The museum occupies a site once traversed by pilgrims en route to Santiago de Compostela in Spain. In the surrounding meadows, local farmers still speak Romansh, an ancient form of Latin unique to [...]

The revival of Yasmina Reza’s play Art on Broadway this fall comes at an interesting moment for the art world. In the play, three men—played by Neil Patrick Harris, James Corden, and Bobby Cannavale in the new production—stand in front of what looks an awful lot like a blank canvas. In fact, it’s an avant-garde painting by a famous artist. One of the three has just bought the painting for a steep price; another thinks it’s awful and can’t believe his friend paid so much for it. Over the course of a wild and comic 90-minute conversation, Art raises age-old questions about human relationships—how brutally honest you can be with your friends and still keep them. It also, of course, asks some fundamental questions about art. As Michael Billington put it in the Guardian in 2016, “Reza … asks whether aesthetics is now inextricably confused with market value: when we read that a painting has been sold for countless millions in the auction room, do we somehow rate it more highly?” In the aftermath of an overheated run on young artists, collectors today are assessing the purchases that confusion may have led them to. When the play was first performed, [...]

MORE KENNEDY CENTER CUTS. The Kennedy Center has fired the head of its jazz programming, as well as the last member of its social impact team, reports the Washington Post. Kevin Struthers, senior director, music programming, and Malka Lasky , a social impact staffer and coordinator for the center’s free Millennium Stage shows, were laid off on Wednesday with no explanation, per reports. The firings are the latest shake-ups to roil the center since President Donald Trump took over the institution, ousted its former leaders, and replaced them with his own political allies. Trump is currently chairman of the Washington D.C. art center’s board of trustees.Related ArticlesArgentina Charges Nazi's Daughter with Concealing Looted Art, Giorgio Armani Dead at 91, and More: Morning Links for September 5, 2025Dealers and Advisers Trying to Live Like Collectors, Reshaping of Egypt's Tourism Sector, and More: Morning Links for August 25, 2025 CEASE AND DESIST. The Canadian artist who made the iconic Brutalist water fountain in San Francisco’s Embarcadero Plaza, Armand Vaillancourt, 96, has sent a cease-and-desist letter via his lawyer, in an attempt to block plans to demolish the art piece made

Artist Nicholas Galanin said he pulled out of a symposium related to a Smithsonian American Art Museum exhibition, claiming that he was asked not to record the event or share footage of it on social media. That show, “The Shape of Power: Stories of Race and American Sculpture,” was one of the exhibitions singled out by Donald Trump in an executive order earlier this year about the Smithsonian’s museums. He claimed those institutions had “come under the influence of a divisive, race-centered ideology.” The exhibition itself, Trump wrote, “promotes the view that race is not a biological reality but a social construct.” Earlier this year, in ARTnews, Shantay Robinson wrote that the show explores “how sculpture, created by diverse artists, tells an inclusive story of America.” It features works dating from 1792 to 2023 and pays specific mind to race, with one section titled “Classical and the Myth of the White Ideal.” Galanin was to speak at the Smithsonian American Art Museum on Saturday as part of a two-day symposium that begins today. The symposium, which is not publicly listed on the Smithsonian’s website, also features speakers such as curator Hamza Walker, artists Titus Kaphar an

The space was home to relics from Gaza’s five main archaeological sites, including a fourth-century monastery designated as a Unesco world heritage site where exposed mosaics remain even after damage incurred. The removal occurred in the midst of ongoing threats of further strikes in Gaza, where Unesco has identified damage to 94 heritage sites surveyed by way of satellite imagery.

Brefkany and his team are currently excavating tombs, which will be transferred to the Duhok Museum before water levels rise and the area is resubmerged. There, at the museum, the finds will undergo further study and preservation.

Last month, Kim Keon-hee, wife of South Korea’s impeached and jailed former president Yoon Suk-yeol, was arrested on charges of bribery, stock manipulation, and election interference. On Thursday, the special prosecutor leading the case said a painting by Lee Ufan is now at the center of the inquiry. Prosecutors allege that former prosecutor Kim Sang-min purchased Lee’s From Point No. 800298 in 2023 for around 100 million won (about $75,000) on behalf of Kim Keon-hee’s brother, Kim Jin-woo. The painting was allegedly handed over to the former first lady’s circle. Kim Sang-min has denied receiving any favors, saying he acted only as an intermediary at Jin-woo’s request. “I was asked to buy the painting under a hidden identity because if it leaked that the Kim Keon-hee–Kim Jin-woo family was buying the painting, its price could increase by at least two to three times,” he told the Korean Broadcasting System. The painting was discovered at Jin-woo’s mother-in-law’s home alongside what investigators described as a counterfeit “state visit necklace,” according to KBS. Adding to the controversy, Chosun Ilbo, South Korea’s newspaper of record, reported this week that two Korean art apprai

The auction of two 17th century oil still-life paintings of flowers was recently halted after a foundation claimed they were looted by Nazis during World War II. The 5-inch by 8-inch paintings were set to be sold by Apple Tree Auction Center in Newark, Ohio as part of a sale of unclaimed items from safety deposit boxes, reported The Columbus Dispatch, which first reported the news. But research by the Monuments Men and Women Foundation and the Jewish Digital Cultural Recovery Project (JDCRP) pointed to the two paintings as originally part of the art collection of Adolphe and Lucie Haas Schloss. The Jewish-French family’s collection of 333 paintings were “hunted down, seized and divvied up by Nazi officials and their French collaborators in 1943.” The Schloss family’s private collection of Old Master paintings was seized and divided “through forced sales and legal maneuvers involving both French and German authorities,” according to the Monuments Men and Women Foundation. “Those Schloss works ultimately destined for Hitler’s planned museum in Linz, including the two paintings in Ohio, were transferred to Munich and stored in the Führerbau, Hitler’s headquarters, before being subsequ

The 36th São Paulo Bienal explores what it means to be human. Yes, all art does this to some degree. But recently, art world fads have tried to repent for our species’ planet-destroying anthropocentrism, emphasizing everything from cyborgs and posthumanism to interspecies relations. Today, though, humanity seems harder and harder to find in an era characterized by genocide and the rise of AI. But if humanity sounds like a broad curatorial theme, don’t worry: there are many others. At the Bienal’s opening press conference, the curators—led by Bonaventure Soh Bejeng Ndikung—said that the show is also inspired by avian migration and the ways birds ignore borders and carry their songs with them wherever they go. They claimed the exhibition is structured, too, like estuaries and tributaries—bodies of water connecting “the river to the sea,” they kept saying, echoing the slogan for Palestinian sovereignty without speaking of Palestine directly. As if to avoid having to state outright that all humans comprise humanity and dehumanization is cruel—which should go without saying, but unfortunately does not—the curators complicated the idea with art-speak in what they deemed their guiding que