by
Natan Last
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Natan Last’s essays, poetry, and crossword puzzles appear in The New Yorker, The Atlantic, Narrative, Los Angeles Review of Books, and elsewhere. He is currently writing a nonfiction book about crosswords. More by Natan Last
The museum’s unions are protesting the sweeping staff cuts that impacted 47 employees after the institution announced a $10M budget deficit.
The artist sits down with Hyperallergic Editor-in-Chief Hrag Vartanian and critic John Yau to discuss his work, which brings together Guston’s notorious KKK figures with his own host of comic characters to confront white supremacy.
The MFA Art Practice program at SVA redefines artmaking through a collaborative, cross-disciplinary approach that welcomes non-traditional applicants.
Even if DEI dies, arts organizations should still move toward the accessibility that has always been at the core of the effort. Here’s how.
Feted as the “Queen of the Bohemians,” Abercrombie saw herself as a kind of jazz witch forging dream visions into a strange, eerie, and occult body of work.
Collaged scraps of cloth or crumpled paper in Andrews’s portraits were a subversive and insistent means of encompassing his own non-White, non-urban roots.
A new lawsuit argues that the Manhattan sculpture garden is a unique artwork protected by the Visual Artists Rights Act.
The artist’s debut solo exhibition in the United States, “Attila cataract (…),” marks the first time the French Pavilion has traveled to the country. On view at Brown University.
An exhibition at the Legion of Honor is billed as the first to explore the artist’s “reinterpretations” of works by his artistic influences.
I showed up at the Manhattan courthouse with my watercolor pencils and paper in hand only to find that everyone wanted “the shot,” and that this work is not for the faint of heart.
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