On August 4, Jessica Lussenhop (@Lussenpop) posted an image culled from Google Earth of the memorial for Michael Brown, the teenager shot to death by the former police officer Darren Wilson in Ferguson, Missouri last year.
Seph Rodney
Seph Rodney, PhD, is a former senior critic and Opinion editor for Hyperallergic. He is now a regular contributor to it and the New York Times. In 2020, he won the Rabkin Prize for arts journalism and in 2022 won the Andy Warhol Foundation Arts Writers Grant. In 2024 he co-curated Get in the Game at San Francisco Museum of Art.
Posted inOpinion
An Artist Poses Nude at Former Slave Sites
Recently the artist Nona Faustine kicked up some ruckus with her White Shoes photography series, which consists of images of the artist posing nude at former sites of slave trading in New York City.
Posted inOpinion
What People Mean When They Say “Painting Is Dead”
Last week, Sinead O’Connor recently declared that music has died. What do we mean when we say that something, as opposed to someone has died?
Posted inOpinion
The Art of Cady Noland as Poison Pill
Cady Noland has reportedly stirred up a kerfuffle around the sale of her work to a major collector.
Posted inOpinion
The Confused Thinking Behind the Kimono Protests at the Boston Museum of Fine Arts
The Boston Museum of Fine Arts recently cancelled an event they had called “Kimono Wednesdays,” that, according to the museum, sought to engage people by arranging enhanced encounters with works of art.
Posted inOpinion
What Will the Studio Museum in Harlem’s Expansion Achieve?
Given the Studio Museum’s unique position in the city’s arts and culture landscape, this rebuild, the first since the museum took up residence in its current space in 1982, seems to indeed be a cause to celebrate.
Posted inArt
An Art Exhibition ‘for colored girls’
The current exhibition at the New York Public Library’s Schomburg Center for Research in Black Culture is titled, i found god in myself: The 40th Anniversary of Ntozake Shange’s for colored girls. Though on its face this weighty title sounds empowering, ultimately it belies the exhibition and the original play that engendered and shapes it.