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May 6, 2023

Hello, I'd like to introduce myself to readers who may not know me. I'm Hyperallergic’s editor in charge of reviews. I'm from Detroit, and I have a PhD in art history from UC San Diego, where I focused on Otto Dix and World War I, though my interests extend to contemporary art. Anyone who's read my writing here might notice that I have an affinity for the grotesque and carnivalesque, and a soft spot for anyone overlooked.

I’d like to draw your attention to some of the standout exhibitions our writers are visiting. This week we covered shows around the country and across the Atlantic, to catch you up on the artists and topics making waves. In Turin, Kimberly Bradley looks at the legacy of the late Lee Lozano, an artist who was unafraid to exit the art world. Bradley asks how Lozano would feel about the commodification of her work. She writes:

I wonder what she would think of how today’s art world functions. Friends apparently came to save her pieces when she was evicted from a New York apartment; now Hauser & Wirth manages her estate and her works fetch up to a million dollars each.

Shifting from artists leaving the art world to untold stories entering the gallery, in Los Angeles, AX Mina describes the hardships and losses facing undocumented migrants, as told in an exhibition at LA Plaza de Cultura y Artes. Mina reminds us that, “Uncertainty is one of the most painful aspects of the undocumented migration experience. Sometimes, as in the case of a disappearance, families are not even afforded the certainty of death.”

Meanwhile, in London, Michael Glover offers his take on the strengths and weaknesses of sculptor Anthony Caro, as reflected in concurrent shows. Back in New York, Daniel Larkin reports on Pratt’s MFA students, who have embraced the “mess” around us, and Irini Zervas sheds light on Arthur Bispo do Rosario, a visionary Afro-Brazilian artist, whose retrospective is currently on view at the Americas Society.

And in books, Nageen Shaikh reviews Katy Hessel’s The Story of Art Without Men and suggests that educators may want to “trade some Picassos for Gegos” in their art history surveys.

Let’s hope that some professors take that advice. As always, we’re glad we can bring you thoughtful, intelligent reviews on such a range of shows, and thanks for reading!

And by the way, we’re doing our first readers’ survey in years, so please help us learn more about you, our members and readers, to ensure we can continue to improve Hyperallergic and give you the best quality news, views, and reviews of any art publication. You can fill out our survey online. We’d love to hear from you.

— Natalie Haddad, editor

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