Remember when selfies were big?
Remember when selfies were big? A decade after their advent, they’re not as exciting or widespread anymore. But it’s not the selfie that has changed — it’s us. AliciaEler, author of the 2017 book The Selfie Generation, examines the past, present, and future of the medium in one of this week's recommended reads. In the news, federal agents swarm a Puerto Rican art museum in Chicago in a move some regard as an intimidation tactic. Meanwhile, artists protest the Trump administration's incompassionate immigration policies with a mural of an embarrassed Statue of Liberty in France and an app that adds a famous JD Vance meme to your boarding pass (if you recall, a Norwegian tourist was denied entry to the US after ICE found a photo of the meme on his phone). Other highlights this week include author Arthur Nersesian on a book about the wild and glorious days of the East Village’s Pyramid nightclub, Anthony Majanlahti on how Baroque Rome saw the rest of the world through art, our Reviews Editor Natalie Haddad on Hilma af Klint’s nature studies, Louis Bury on Edward Burtynsky’s photography, and so much more. Thanks for reading and have a great weekend. — Hakim Bishara, Managing Editor | | |
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| | It’s been a decade since selfies took over the internet. While it’s clear that they’re here to stay, the way we take and post them has drastically shifted. | Alicia Eler |
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SPONSORED | | | Mavis Pusey: Mobile Images advances new research and preservation efforts. On view at ICA Philadelphia from July 12 through December 7. Learn more |
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LATEST REVIEWS | | | Her Nature Studies invoke the promise of something greater, a direct line from the material world to the spiritual experience that art is presumed to offer. | Natalie Haddad
Edward Burtynsky’s photographs once offered a prescient vision of large-scale anthropogenic changes; now, they feel more and more like a pretext for aesthetic dazzle. | Louis Bury
Global Baroque surveys the triumphant internationalism of a new age of vast and rapid interchanges of art and culture, with Rome at its center. | Anthony Majanlahti |
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| | | A book of oral histories about the now-shuttered venue takes us through those who came before, made it big, and died too soon. | Arthur Nersesian
The artworks in Spora, unfolding over three years at the Swiss Institute, linger in the mind, its interconnections multiplying like spores. | Natalie Haddad
Throughout her work, we see women attempting to free themselves from the entanglements of patriarchy. | Anna Souter |
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FLEX YOUR ART KNOWLEDGE | | | What do Henri Matisse, Hilma af Klint, and the Venice Biennale have in common? | Natan Last |
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A VIEW FROM THE EASEL | | This week, artists Jeong Hur and Nibha Akireddy find calm in the steady presence of a home studio and play with light as a medium in itself. | Want to take part? Check out our submission guidelines and share a bit about your studio with us through this form! All mediums and workspaces are welcome, including your home studio. |
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ALSO ON HYPERALLERGIC | | | The Fabric Workshop and Museum in Philadelphia will soon show a trove of the artist’s textile works, costumes, performance documentation, and more. | Sarah Rose Sharp
The Spore Initiative views the Palestinian struggle as part of a pattern of global extraction. | Jad Salfiti
Feminist film scholar Lori Jo Marso redresses misconceptions of the gendered gaze, parsing through the lessons we can learn from our exhilaration and unease. | Eileen G’Sell
Gerard Wagner’s metaphysical landscapes, Michelle Silver’s thundering abstract frenzy, a group exhibition of Chinese women artists, and more. | Taliesin Thomas
This week: Houston’s legendary muralist, the history of slo-mo in film, NYC art schools see an increase in applicants, whales speak with bubbles, Moo Deng turns one, and much more. | Lakshmi Rivera Amin |
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