Founded in 2014 as a tongue-in-cheek alternative to the esteemed Whitney Biennial, the Every Woman Biennial has evolved into an intergenerational showcase that mixes emerging talent with established feminist art stars while maintaining the scrappy, activist energy that inspired it in the first place.
There's a mildly amusing on-paper joke at the centre of manic art world comedy The Gallerist: what if someone was accidentally impaled on an exhibit but rather than report it, the corpse became part of the artwork? Sure, poking fun at the absurdity of modern art might seem a little dated and definitely a little too easy but maybe with a packed cast including Oscar winners Natalie Portman, Catherine Zeta-Jones and Da'Vine Joy Randolph, there could be a fun, fast-paced caper here?
The year began with the art world-like much of the rest of the world-holding its breath, waiting to see what America's newly re-elected president, Donald J. Trump, had on his Washington to-do list. Meanwhile, on America's other coast, a series of wildfires in and around Los Angeles burned up around 60,000 acres, killing hundreds of people, displacing thousands more, and consuming architectural landmarks as well as untold works of art.
Edvard Munch helps us cope with the good, the bad, and the ugly. (all edits Shari Flores/ Hyperallergic) It's December, the season of Spotify Wrapped and Apple Music Replay. Each year, the branded year-in-review graphics compile users' annual listening history and trends, converting them into shareable statistics that evoke the feeling of personality quiz results. We don't have the ability to track every reader's click history or favored content at Hyperallergic,