| Good morning, and Ramadan Mubarak to all who celebrate! On Friday, New York's Guggenheim Museum announced that it laid off 20 workers. That same day, recently laid-off workers at the Brooklyn Museum aired their grievances at a city council hearing. Get all the details in our reports below. In other news, there’s nothing quite like a newly discovered Pompeii fresco drop. The results of the latest excavation are here and, as usual, they do not disappoint: Think Dionysian cult scenes, beautifully preserved pigment, and general revelry. There’s more in this edition, as always, including Nereya Otieno on filmmaker Ben Caldwell portraits of Black Los Angeles, our guide to art shows in Upstate New York this month, and Associate Editor Lisa Yin Zhang on a remarkable exhibition about the housing crisis and what art can do that city governments never will. — Lakshmi Rivera Amin, Associate Editor | | |
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| You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a member. | | Become a Member |
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 | | This exhibition about the multihyphenate filmmaker is as much about the place he chose to call home and all the people who pepper it with color. | Nereya Otieno |
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SPONSORED |  | | | | Learn the most common mistakes artists make on their taxes and how they cause you stress (and cost you money). In this free masterclass, artist and tax pro Hannah Cole of Sunlight Tax will share her four-step framework to make your taxes easier while feeling valued as an artist, and the secret to stashing more in your savings. Thursday, March 6, at 12pm (ET). Register now |
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LATEST NEWS |  | -
An enormous fresco spanning three walls of a recently excavated banquet hall in central Pompeii sheds light on rituals within the cult of Dionysus. -
The Guggenheim Museum in New York will lay off 20 employees, citing post-pandemic financial constraints.
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At New York City Hall, Brooklyn Museum workers, union representatives, and City Council members called on the institution to “exhaust all options” before implementing its recently announced mass layoffs.
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FROM OUR CRITICS |  | | The show argues that caring for unhoused and dispossessed people is not a task to be sloughed off to the “city,” but rather a responsibility each of us shoulders. | Lisa Yin Zhang |
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SPONSORED |  | | | | 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. Learn more |
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 | | The majority of the art in Mutual Aid: Art in Collaboration with Nature is still based on human manipulations of or interventions into natural processes. | Kimberly Bradley |
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MORE ON HYPERALLERGIC |  | | Michel Goldberg’s black and white dance of birth and death, ransome’s stoic and elegant portraits, Kipton Hinsdale’s near-berserk mark-making, and more. | Taliesin Thomas |
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|  | | The sight of drawings by the likes of Shuvinai Ashoonai not far from sad ceramic animals felt bizarre, but a few standout booths cut through the chatter. | Rhea Nayyar |
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|  | | Despite the often stifling influence of critic John Ruskin, Francesca Alexander dedicated her art and life’s work to the people of Tuscany. | Lauren Moya Ford |
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MEMBER COMMENT | | David Ross on “In Beatrice Glow’s Art, Colonial Histories and AI Collide” | | I respectfully disagree with this review. Glow takes on the complex and well-hidden colonial history of New York City and the horrors of Dutch colonial enterprises with sky humor, incredible craft, and most importantly with active collaborations with descendants of the indigenous people whose communities and cultures were subject to the crimes of Dutch extractive and settler colonialism. And she does this in an institution that for many years stood as the bastion of the old Dutch New York elite. This institution is changing and now inviting artists like Glow to make use of their extraordinary resources to rethink and re-write a more thorough history of New York. Glow and the museum are part of an important trend in historical institutions, and I find this body of work inspiring, thought-provoking, and beautiful in an unsettling fashion. Glow’s light touch and her ironic use of state-of-the-art technology seems to me most appropriate. |
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| You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a member. | | Become a Member |
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