by
Noah Fischer
Success! Your account was created and you’re signed in.
Please visit My Account to verify and manage your account.
An account was already registered with this email. Please check your inbox for an authentication link.
This is the sixth of a series of comics depicting transformative moments in the lives of artists, activists, and organizers on the front lines of the housing affordability crisis in New York City
Organizer and curator at the Museum of the City of New York
Color by Katherine Domínguez
Urban planner, housing policy analyst at Community Service Center of New York
Color by Katherine Domínguez
The series was originally commissioned by More Art.
Noah Fischer's work highlights intersections between economic and social inequity and art institutions. His sculpture, drawing, performance, writing, and organizing practice fluctuate between object making... More by Noah Fischer
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.
Get the best of Hyperallergic directly in your email inbox.
Sending to:
