Author name: Connie Alvarez

Visual artist, musician, and filmmaker Laurie Anderson is the latest target of Germany’s crackdown on speech critical of Israel. After accepting a professorship at the Folkwang University of the Arts in Essen earlier this month, Anderson and the school jointly announced her resignation on Friday, January 26, citing the artist’s endorsement of a “Letter Against […]

As of last Thursday, January 25, Palestinian activist and adjunct professor Amin Husain has been suspended from New York University’s (NYU) faculty allegedly over statements related to Israel’s war on Gaza. A co-founder of Decolonize This Place (DTP), Husain has long advocated for Palestinian liberation individually and as part of the art-oriented activism collective. A

The Anchorage Museum has paused a new policy that granted free admission to visitors who self-identified as Native Alaskan. The short-lived rule, announced January 3, proved controversial when some online claimed it was discriminatory. While praised by the Native Village of Eklutna, which celebrated the new ticketing guidelines as “great news for Anchorage’s original inhabitants,”

This month’s selections offer Day-Glo wonder and enticing textures, beneath which lie more complicated themes. Both Aryana Minai’s color-saturated paper-pulp paintings and Joey Terrill’s Pop-pastiches resemble portals to other worlds built on loss, memory, and survival. Three group shows — ART IRAN, Scratching at the Moon, and I Will Meet You Again — focus on artistic

Read the letter from the artists to the SBMA’s board below. Board of Directors, Santa Barbara Museum of Art January 26, 2024 Dear Director, Over the past three years, Eik Kahng, chief curator and deputy director of the Santa Barbara Museum of Art (SBMA) has been working on an exhibition that would aim to do

Emilio Rodríguez-Larraín, “L’Homme est subjet” (1964) (all images Ela Bittencourt/Hyperallergic) When reading up on Emilio Rodríguez-Larraín (1928–2015), a pioneer of Peruvian geometric abstraction, I came across aerial views of his land art work “La máquina de arcilla” (1987), constructed on the beach in Huanchaco. The bird’s-eye views confirmed my hunch about the artist’s paintings displayed

“As actors, we learn to keep a certain distance,” Tunisian film star Hend Sabri assures Olfa Hamrouni, the middle-aged mother whose traumatic experience Sabri will soon be depicting onscreen. Olfa responds, “And what if you can’t?”  This question is at the crux of Four Daughters, Kaouther Ben Hania’s hybrid documentary that creatively reenacts the circumstances