An artist on saying no to the US Biennale pavilion, Dumbo Open Studios turns 10, and the Rijksmuseum takes on Ovid’s magnum opus.<\/p>\n
MoMA PS1’s massive survey of local artists, Greater New York, happens just once every five years, so it’s only natural that the show would stir strong emotions … including ambivalence. Read all about the works Hyperallergic loved, didn’t, and couldn’t make up their minds about, with contributions from Editor-in-Chief Hakim Bishara, Editor-at-Large Hrag Vartanian, Associate Editor Lisa Yin Zhang, and Staff Writer Rhea Nayyar.<\/p>\n
In news, American-French sculptor Barbara Chase-Riboud speaks about her decision to decline an invitation to represent the US at the Venice Biennale as the pavilion \u2014 and its murky, Trump-friendly commissioning entity \u2014 come under intensifying scrutiny. As a reminder, if you’d like to send a confidential news tip, you may do so at tips@hyperallergic.com, or contact me or a reporter directly.<\/p>\n
\u2014Valentina Di Liscia, senior editor<\/p>\n
Kenneth Tam, \u201cI\u2019M STAYING HOPEFUL AND STRONG (For Bilal and Salah)\u201d (2026) (photo Hrag Vartanian\/Hyperallergic)<\/p>\n
What We Loved (And Didn\u2019t) in \u201cGreater New York\u201d Plus, the works we\u2019re on the fence about in the massive MoMA PS1 survey. | Hrag Vartanian, Hakim Bishara, Lisa Yin Zhang, Rhea Nayyar<\/p>\n
Summer Marathons in Painting and Drawing at the New York Studio School
\nJoin an immersive, two-week session and transform your studio practice. Online or in-person.<\/p>\n
News<\/p>\n
Barbara Chase-Riboud (photo Pascal Le Segretain\/Getty Images)<\/p>\n
Artist Barbara Chase-Riboud spoke about her decision not to represent the US at the 61st Venice Biennale, noting that now is \u201cnot the moment.\u201d<\/p>\n
ArtPhilly plans to unveil a sprawling temporary monument next month honoring Ona Judge, who escaped enslavement by the United States\u2019s first presidential family in 1796.<\/p>\n
Works on paper were a highlight at Dumbo Open Studios’s 10th year event \u2014 not to mention the impromptu conversations and artistic community.<\/p>\n
Jean-L\u00e9on G\u00e9r\u00f4me, \u201cPygmalion and Galatea\u201d (1890\u201392) (photo Zoe Guy\/Hyperallergic)<\/p>\n
A Blockbuster Take on Ovid\u2019s \u201cMetamorphosis\u201d
\nThe Rijksmuseum exhibition raises questions about gender, sexuality, and transformation that it is not prepared to answer. | Zoe Guy<\/p>\n
The Marsden Hartley Legacy Project Launches Online
\nThe first comprehensive catalogue of artworks by acclaimed modernist painter Marsden Hartley is now freely available on the internet.<\/p>\n
Adrian Rifkin on Naz Cuguo\u011flu’s “The Future of Museums Is a Dance Floor”:<\/p>\n
2 things. In the 90s when I was Professor of Fine Art at Leeds I had a v good MA guy who wrote on this matter and ran raves as an artist. If you read Boulez in some of his reflections you can see how the DJ becomes an artist as such, and maybe the truest form of modern in Adorno’s sense in his critique of Moses un Aron.<\/p>\n
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ICYMI<\/p>\n
Rembrandt van Rijn, \u201cThe Vision of Zechariah in the Temple\u201d (1633) (photo Rene Gerritsen, courtesy Rijksmuseum)<\/p>\n
Long-Lost Rembrandt Goes on Display at the Rijksmuseum
\nPreviously misattributed to a pupil of the Dutch Master, the painting was hidden from public view in a private collection for over six decades. | Rhea Nayyar<\/p>\n","protected":false},"excerpt":{"rendered":"
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