Hyperallergic

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The Biggest Art Stories of the Month, From Bernie Memes to the Vessel Shutdown Jan 29, 2021

Show notes

It’s been a non-stop news cycle since last November’s election, and Hyperallergic’s news team has been on it. Join us and listen to the team’s thoughts on the stories we've been reporting on.

For this episode, we gather to discuss the stories that we covered this week, including the Bernie memes; the Capitol insurrection; the charred Melania Trump sculpture in Slovenia; the rumors that Trump staffers were taking works home; the Ohio Arts Board member who was forced out after her social media posts were discovered; the damage to an ancient arch in Iraq; the closing of the disastrous Vessel in Manhattan; and the viral sink reviewer who hates the faucets at the Museum of Modern Art.

The music for this episode is Lorenzo Senni’s “Canone Infinito” courtesy of Warp Records.

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From Graffiti to the Gallery, Futura Talks About Art Dec 18, 2020

Show notes

Born Leonard McGure, Futura made his reputation spray painting subway trains in New York City in the 1970s as “Futura 2000” — the number was dropped in 1999. He would go on to be part of the booming graffiti and street art movement in the 1980s, but was forced to depend on European venues and collectors after attention in the United States quickly dried up in the late 1980s, though he did go on to collaborate with various American fashion and music labels.

Now he’s back with his first solo New York exhibition in 32 years, which is taking place at Eric Firestone Gallery in Manhattan. In this conversation, he generously shares his insight into the mercurial art world, what motivates him to continue making work, and reflections on a scene that continues to change.

The music in this episode is Lara Sarkissian’s “A House is a Being,” from the album Grief Into Rage: A Compilation for Beirut, which is raising funds for victims of the Beirut blast last August. I’m sending love to those who continue to grapple with that horrific event.

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Artist Shahzia Sikander Is Ready for a New Post-Pandemic Reality Dec 16, 2020

Show notes

Since she first emerged into the spotlight in the 1990s, artist Shahzia Sikander has forged her own path with artworks that meld traditional manuscript illumination and calligraphy techniques with visual innovations that seem to transform into an alchemical universe of awe, wonder, and intimacy.

Her current exhibition at Sean Kelly gallery, her first in a decade, includes three animation works and continues to push ink, gouache, and mosaic to new heights in her art. There, she is also displaying her first bronze sculpture.

In this conversation, Sikander joins me in the Hyperallergic studio to talk about making art through the pandemic, what she wants her art to do, and her hopes for a new post-pandemic art world.

The music in this episode is “Animal” by Radiochaser.

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John Yau, Jillian Steinhauer, and Others at Hyperallergic's First-ever Public Reading Nov 27, 2020

Show notes

On Tuesday, June 23, 2015, Hyperallergic hosted our first-ever live reading event, which took place at Housing Works Bookstore and Cafe in Manhattan’s SoHo neighborhood. Hyperallergic Weekend Editors John Yau and Albert Mobilio read their poetry, writers Marisa Crawford (“Crying for Ana Mendieta at the Carl Andre Retrospective”) and Ryan Wong (“I Am Joe Scanlan”) read pieces that were among our favorites from that year, while two Hyperallergic veterans Allison Meier and Jillian Steinhauer (“Wading in Matthew Barney’s River of Shit”) read some of their own writing.

The event also included a wacky comments section, where Hyperallergic staff and contributors Tiernan Morgan, Jennifer Samet, and Elisa Wouk Almino read some of our zaniest comment threads that were percolating on the website at the time — my favorite involves Shakespeare truthers. There’s even a short Q&A at the end with Hyperallergic Weekend Editor Thomas Micchelli.

I know you’ll get a kick out of this time capsule from what feels like a bygone age, back when Obama was still president and “fake news” wasn’t the ubiquitous term it is today.

The music in this episode is titled “A Boy and a Makeshift Toy.” It’s performed by violist Michael Hall, pianist Stephanie Titus, and composed by Mary Kouyoumdjian. The piece is inspired by the war photography of Chris Hondros, particularly a photo of Albanian refugees from Kosovo waiting at a train station.

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On Election Day, Reflecting on Months of Political Arts Reporting Nov 03, 2020

Show notes

We can’t believe it’s been four years since the 2016 US Election, and here we are again. I’m joined this episode by the Hyperallergic news team — news editor Jasmine Weber, and reporters Valentina Di Liscia and Hakim Bishara — to discuss the stories we reported on over the last six months. These include a look at Joe Biden and Kamala Harris’s records on the arts; various mural and poster projects that have engaged local communities; the decision of some museums not to serve as polling places; and other news of note.

It’s election day, so we hope all those who can will vote.

The music featured in this episode is “Wink Wink” by Teddi Gold.

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Where Did the Deepfakes Go? Oct 25, 2020

Show notes

For months, media specialists, pundits, and analysts were warning us to brace for an onslaught of memes and other forms of propaganda that would flood our feeds this US election season. While there certainly have been a comparable amount of memes and videos as in 2016, the use of deepfakes — a form of artificial intelligence to make images of fake events — never quite materialized. Why?

In this wide-ranging conversation, I talk to artist and technologist An Xiao Mina about the absence of deepfakes and what this might tell us about the media ecosystem now and going forward.

This conversation is part of our Sunday Edition on Propaganda.

The music featured this episode is a new track by Command Dos titled "Proof."

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Sam Durant Revisits the “Scaffold” Controversy Three Years Later Oct 23, 2020

Show notes

A few weeks ago, artist Sam Durant released a long essay about his work, "Scaffold," which reflects on the project that dominated art world headlines. Originally commissioned for documenta (13) — the influential quinquennial exhibition in Kassel, Germany — in 2012, it wasn't until "Scaffold" was installed in the Walker Art Center's sculpture park in downtown Minneapolis, Minnesota, that it was met with protests by the local Dakota community.

That event was a lightning rod for a national conversation about appropriation, racism, and the role of artists, museums, curators, and others in those conversation. I invited Durant to join me on the podcast to discuss the reason he wrote this so many years after the fact and what he thinks the lessons are.

The music featured in this episode is the track “California Life” by Radiochaser.

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National Gallery of Art Director Discusses the Decision to Delay the Philip Guston Exhibition Oct 01, 2020

Show notes

Last week, the New York Times reported that the National Gallery of Art's Philip Guston retrospective, expected to travel to the Museum of Fine Arts, Houston, Tate Modern in London, and Museum of Fine Arts, Boston, would be delayed by four years. The reasons are many, including the limited demographics of those who worked on an exhibition that is very much about race, as well as the current cultural climate. The decision has caused = reactions of indignation and anger in some art circles, causing others to be perplexed over what seems like an overreaction to the delay of an exhibition by a very well-known artist, who is frequently shown and exhibited in spaces the world over.

In this episode, the director of the National Gallery, Kaywin Feldman, shares her thoughts on the decision, why it was important, and what the National Gallery of Art will do now.

The music featured in this episode is the track “California Life" by Radiochaser.

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Amin Husain and Nitasha Dhillon on Working to Decolonize the Art World (Part 2) Sep 25, 2020

Show notes

I’ve been wanting to do a major interview with Amin Husain and Nitasha Dhillon for years. As the duo behind MTL+ Collective and organizers with Decolonize This Place, FTP, Gulf Ultra Luxury Faction (GULF), and other groups through the years, they’ve played an active role in pressuring New York’s art community and institutions to deal with the issues that have long been overlooked. Though well known for organizing with a focus on worker, indigenous, Black, Palestinian, and migrant rights, both Husain and Dhillon are also artists.

In this wide-ranging, two-part conversation, I speak to Husain and Dhillon, who came to our studio back in May, before the murder of George Floyd and the Black Lives Matter protests that followed, about their lives, ideas, and what they think of an art community that is still grappling with notions of justice, freedom, and equality.

Part one is a shorter 34-minute interview to introduce you to the pair and their lives, while part two (81 minutes) offers a closer look at their work and the various challenges they’ve faced with the Guggenheim Museum and the Brooklyn Museum, while offering some insights into what’s next.

Instead of music for this episode, I’ve incorporated the sounds of various protests where I’ve encountered the pair, including the 2017 Anti-Columbus Day Tour at the American Museum of Natural History.

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Amin Husain and Nitasha Dhillon on Working to Decolonize the Art World (Part 1) Sep 25, 2020

Show notes

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