Inspiration

The Norton Museum in West Palm Beach, Florida, announced that some 80 artworks will be added to the museum’s collection via a combination of acquisitions and promised gifts. The new works cover a wide range of mediums and time periods, in step with the museum’s focus on European, American, and Chinese art. Highlights include one […]

From film to painting to sculpture to chess, the Surrealist was an artist-inventor, tinkering away at light and objects and having a good laugh all

Dr. Barbara Stehle is an art historian and independent curator. She teaches at RISD and is the founder of Art Intelligentsia. The late painter was influenced by Abstract Expressionism, but she had none of the hubris of its male artists. For her, painting was not about an experience, it was an experience. 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.

Emily Mason was always reluctant to accept a label for her art. In 1972, when asked which movement she belonged to, Mason firmly said, “I really resent that but if somebody said, ‘What kind of painter are you?’ I guess I’d say Abstract Expressionist.” Asked the same question in 2005, Mason offered a nuanced answer: “[I] probably was a product of Abstract Expressionism,” to which she quickly added, “of course John Cage says: ‘Get your mind out of the way.’” Get the latest art news, reviews and opinions from Hyperallergic. Willem de Kooning was one of the uncontested leaders of the New York School. He was one of the most influential artists of the 20th century, and so was John Cage, the godfather of process art, conceptual art, and Fluxus, who inspired a whole generation to rethink art. However amazingly influential both artists were, it is very unusual to claim both de Kooning and Cage as mentors to one’s practice. Mason is that unusual painter, which is why she took American art in an unexpected direction. Mason belonged to a generation that stepped away from the easel and its verticality — painterly techniques initially developed by Jackson Pollock and Helen [...]

The title of Donald Moffett’s latest exhibition, “Snowflake,” is a deliberate provocation.“I don’t identify as a snowflake,” he told me, a week before the opening of the show, his first New York solo since 2019. “I could be charged as a snowflake, and I would gladly wear it. However, as a negative nomenclature, it works for me in the same way that my first New York show did.” He was referring to “I Love It When You Call Me Names,” the title of both a 1983 a Joan Armatrading song and his own 1989 exhibition at Wessel O’Connor Gallery, which was then located in SoHo. Back then, at the height of the AIDS crisis, Moffett was involved with the ACT UP–affiliated artist collective Gran Fury, and his work, he said, had been labeled “homo art.” Moffett told me he sees a “circularity” between the two shows, which were realized more than 30 years apart. “At that moment, it felt important to give the show that name, just like it feels important now to name this show ‘Snowflake,’” he added. He pointed to two new paintings, Lot 052525 (nature cult, melt 1) and Lot 061625 (nature cult, melt A), both of [...]

When Sylvester Stallone and Jennifer Flavin bought their Palm Beach home, it wasn’t just the private stretch of beach—the only one in town—that drew them. It was the light. High ceilings and big windows gave them space to breathe and, more important, room for art. In an August profile for Veranda, Stallone recalled that he began collecting at 16, the same age he started painting himself. What started with a $15 canvas has grown into a collection that now includes George Condo, Rashid Johnson, Sterling Ruby, Damien Hirst, Bridget Riley, and Andy Warhol, who painted the actor’s portrait while he was filming Rocky III. The house functions as a gallery, though one that shifts constantly. A long hallway is kept blank except for whatever paintings Stallone rotates in and out. “I consider it like a wardrobe,” he said. “You move things around, and suddenly they’re new again.” The dining room is anchored by a custom electric-blue table and a Hirst mosaic, its mirrored walls reflecting a Condo abstract. In the screening room, three large works by LeRoy Neiman hang above the bar—a reminder of Stallone’s friendship with the artist, who appeared in the Rocky films in exchange for paintings. Eve

The Munch Museum in Oslo announced Tuesday that Palestinian artist Samia Halaby is the second recipient of the Munch Award, which honors artistic freedom of expression. The museum, which houses the world’s largest collection of works by Edvard Munch, said Halaby was selected for her “long-term commitment to protesting injustices related to class, gender, and race.” “Honoring Samia Halaby means celebrating not only her artistic career but also her commitment to art as a voice for justice and change,” Munch director Tone Hansen said in a statement. “At a time when artistic voices are increasingly silenced, it is crucial that museums use their platforms to support and amplify them.” This year’s jury included Hansen; artist and curator Wanda Nanibush; Yvette Mutumba, cofounder of the art magazine Contemporary And; Cosmin Costinas, curator at Haus der Kulturen der Welt in Berlin; and Munch Museum curator Tominga O’Donnell. The jury noted that Halaby “has been a vocal critic of censorship in the arts for decades, which she herself has faced, and overcome.” The inaugural Munch Award went last year to Brazilian artist Rosana Paulino, who said she would use the funds to create the Rosana Pa

The Aichi Triennale, an internationally watched recurring exhibition that takes place in Japan, has become ensnared in protests over ties between Israel and Aichi Prefecture, where the triennial takes place and which provides funding for it. Several artists participating in this year’s edition have signed that letter, including Basel Abbas, Michael Rakowitz, Dala Nasser, and Manri Kim, founder of the Taihen performance group. Video posted to social media shows a small protest over the program during the exhibition’s opening last week. This year’s edition was curated by Hoor Al-Qasimi, director of the Sharjah Art Foundation. The exhibition’s title, “A Time Between Ashes and Roses,” was borrowed from a poem by Adonis, a Palestinian writer whom she said granted her permission to use the quotation. Qasimi has spoken about Israel’s war in Gaza during events held by the triennial. The National reported that, at the exhibition’s opening conference, she called Israel’s military action a “genocide and ethnic cleansing,” saying, “it’s been a very emotional experience. I echo many people when they say, none of us will be free until all of us are free. So, free Palestine.”

The Pérez Art Museum Miami in Florida has named José Carlos Diaz its new senior director of curatorial affairs and chief curator. Diaz will begin in his role October 13, succeeding Gilbert Vicario, who departed the institution this past February. Diaz has been deputy director of art at the Seattle Art Museum (SAM) since July 2022, where he oversaw curatorial programs, as well as those at the Seattle Asian Art Museum and Olympic Sculpture Park. He oversaw the rollout of the “Calder at SAM” initiative, which built on Jon and Kim Shirley’s gift of 48 Calder works worth $200 million in 2023. That gift was the subject of a 2023–24 exhibition that Diaz curated, “Calder: In Motion, The Shirley Family Collection.” At SAM, he also curated a solo show for Anila Quayyum Agha and a long-term installation for FriendsWithYou, and he served as the institutional curator for traveling shows for Suchitra Mattai and Hokusai. The appointment is a homecoming for Diaz, a Miami native who previously worked at PAMM when it was still known as the Miami Art Museum. He was also a curatorial intern at another local institution, the Rubell Collection (now the Rubell Museum), early in his career, [...]

The Jean-Michel Basquiat craze continues, with fashion brand Albino & Preto collaborating with the artist’s estate on a new collection inspired by his paintings. The new collection boasts gi and nogi jiujitsu sets, as well as lifestyle apparel, with some of the artist’s artworks incorporated into the prints. The collaboration grew out of the exhibition “King Pleasure,” which was mounted by the artist’s sisters in 2022. The show brought together rarely seen paintings, drawings, and related ephemera, and featured collaborations with various brands, including one with Who Decides War designers Ev Bravado and Téla D’Amore. Basquiat cut his teeth in the New York art scene in the 1980s. Despite his untimely passing and his short career, his legacy continues to provoke and inspire, and his work still continues to fetch record sales. The artist’s former studio is currently inhabited by actress Angelina Jolie’s Atelier Jolie, a workshop and exhibition space for under-represented tailors and artisans around the world.

Artist Haegue Yang was named chair of the board that oversees the KW Institute for Contemporary Art in Berlin. She succeeds German artist Katharina Grosse, who served in the role for four years. “I am very pleased that after four very intensive and extremely instructive years, I can hand over the chairmanship of the board of KUNST-WERKE BERLIN e. V. to Haegue Yang and that we can thus continue the association’s tradition of placing the chairmanship in the hands of an artist,” Grosse said in a statement. “It is of utmost importance to us on the board that Haegue Yang is a clear and business-wise voice from the perspective of artistic reality that accompanies the institution and knows how to represent it to the outside world.” Since 2017, Yang has taught at Berlin’s Städelschule, from which she received an MA degree. Beyond the city, she has been widely recognized in Germany. She was the 2018 recipient of the Museum Ludwig’s Wolfgang Hahn Prize, which comes with a €100,000 (roughly $118,600) purse, along with a show at the institution and the addition of works by the artist to the museum’s collection. She is known for videos and sculptures that bring together interrelated [...]

The vast majority of New Yorker covers over the magazine’s 100-year history have been illustrations. Only two issues broke that mold: a William Wegman portrait of a Weimaraner on the February 20 and 28, 2000, cover, and, more recently, a Cindy Sherman self-portrait on the September 1 and 8, 2025, issue. Both depicted the subjects as variations on the magazine’s beloved Eustace Tilley mascot. Minter’s slick, steamy close-ups of makeup-smeared faces, mouths full of jewelry, and faceted heels are immediately recognizable. She has painted several famous figures, including Gloria Steinem, Lady Gaga, and Miley Cyrus. For the anniversary issue, Minter drew on Barbara Shermund’s October 3, 1925, cover of a woman in profile with swirling pink hair and holding cymbals. Her version is a faithful re-creation, showing the red-haired actress Sadie Sink with matching accessories, shot through a pane of glass with visible droplets of condensation.McGinley, a skateboarder-turned-photographer known for documenting New York nightlife, photographed a group of his friends flexing in front of the Fountain of Life monument at the New York Botanical Garden in the Bronx. The inspiration was Charles Saxon’s

The four curious creatures staring down passersby in front of the Metropolitan Museum of Art trace back, in a way, to early paintings that Indigenous artist Jeffrey Gibson made on animal hides. At a talk on Monday introducing his new commissioned work for the museum’s facade, Gibson discussed two paintings from 2013 that feature his distinctive dynamic style on the surface of brain-tanned elk hides. While painting on hides, he said, “you come across scars. You come across hair follicles. You’re reminded that it’s an animal. Had I done these paintings on canvas, they could be read as geometric abstraction and formalism. [But] in this sense, you were reminded that there were 20 animals in the room with you, and I think that was such a turning point for me to understand how to shift the viewer rather than to shift what I was trying to accomplish.” In conversation with Met curator Jane Panetta, Gibson talked about his latest high-profile offering after his US Pavilion for last year’s Venice Biennale and a big show at MASS MoCA (on view until next fall): four large sculptures of a deer, a coyote, a squirrel, and a hawk, all cast in bronze and [...]

KAWS, artist, entrepreneur, and hypebeast patron saint, has a new first on his CV: Uniqlo’s inaugural artist-in-residence. Starting immediately, he’ll be tasked with expanding the Japanese company’s “Art for All” philosophy, according to the clothing company.   More specifically, KAWS (aka Brian Donnelly) will curate art events across its stores worldwide and collaborate with the brand’s various museum partners, which include the Museum of Modern Art in New York, Tate Modern, the Louvre, and the Museum of Fine Arts, Boston. Fans of the brand will have noted that in recent years, Uniqlo products have featured famed artworks from those respective museum collections. KAWS’s own cross-eyed Companion—a giant version of which stands in the Brooklyn Museum lobby—is no stranger to merchandising itself. The artist and Uniqlo have worked together since 2016, and Companion has appeared on Uniqlo garments since then. It’s unclear, however, if Companion will appear in the artist’s first collection with Uniqlo, scheduled for Fall/Winter 2025. “I am thrilled to be taking this next step with my longtime partner UNIQLO to become the brand’s first Artist in Residence,” KAWS said in a statement. He c

The two honored artists have distinct practices. The New York–based Packer is best known for her jewel-toned paintings whose subjects suggest a tremendous, if disquieted, inner world. Her acclaimed 2021 solo exhibition at the Whitney Museum centered Black figures that toed the line between figuration and abstraction. Watt is a citizen of the Seneca Nation (part of the Haudenosaunee Confederacy) with German-Scot ancestry. Her practice weaves together printmaking, textiles and sculpture to examine cultural legacies, foremost the place of early feminist Haudenosaunee teaching and Indigenous traditions in contemporary community. Her sculpture series “Blanket Stories” comprises monumental towering structures of folded blankets donated to the artist by local communities and each bearing a message that explains the importance of these objects to their original owners. “I see blankets as living, storied objects. Many blankets, particularly wool blankets and quilts are passed down through generations,” Watt said in a statement. “We are received into this world in blankets and in many ways depart in a blanket, and in between we are constantly imprinting on them—worn areas, stained bits and m