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Hyperallergic

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Last Updated: 02 July 2021

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General | Latest Info

Hyperallergic

Type of siteBlogazine, art , culture
OwnerHrag Vartanian Veken Gueyikian
EditorHrag Vartanian
URLhyperallergic .com
LaunchedOctober 2009
Current statusActive
Twitter@hyperallergic
Facebookhyperallergic

Veken Gueyikian had a problem. It was 2009, and he was in love with an unhappy Arts writer. His husband, art critic Hrag Vartanian, had grown weary of low-paying writing gigs and the constraints of 800-word Review he wrote for Art market-focused magazines. Gueyikian, digital marketing strategist, and Vartanian talk about starting Online Arts magazine, but friends and acquaintances in Art world circles warn against it. No one was making real money in Online Arts publishing, they were repeatedly tell. I mean, literally every single person we talk to says you could not make business with Online Art publishing, say Vartanian. AT that time, ad revenue and arts writing jobs were in freefall AT legacy publications and the economic climate was challenging and uncertain. There was a crowded field of upstart art blogs, but they were mostly labors of love that made little, if any, money. And establish Art Press, glossies like ARTnews and Artforum, didnt seem especially interested in investing in their online operations, Gueyikian say. Nine years later, many of those independent visual arts blogs are still struggling or long go, much of Art Press is catching up online, and Hyperallergic, for-profit blogazine Gueyikian and Vartanian launch, has risen to rival Arts Journalism of legacy media. I think that they manage, kind of against odds, to reinvigorate Art Criticism, says Sarah Douglas, editor in chief of ARTnews. Theres been this mantra since however long that Art Criticism is dying, and I think they manage in their own way to breathe new life into it. Indeed, Hyperallergic was the only digital newcomer that topped list of publications in the US in regard to the quality of their criticism, according to a survey I conducted while 2017 Arts & Culture Fellow with Nieman Foundation for Journalism AT Harvard. Top of that list include titles such as New Yorker and Los Angeles Times and mainstay art publications such as Artforum and Art in America. Hyperallergic was also the top digital resource for Arts journalists, according to a survey of more than 300 visual arts writers and critics working regularly for US publications. Some of more than 100 questions about priorities and pressures of field replicate those of survey do 15 years prior by National Arts Journalism Program AT Columbia University. This provides the basis for comparison over period of dramatic change to both media and culture. About a third of respondents hold staff positions, while the rest are primarily freelance writers working for a mix of legacy publications and digital platforms from more than 35 States and several countries. Broader results of the survey will be published later this year. Hyperallergic has rise to rival Arts Journalism of legacy media. Hyperallergic describes itself as a forum for playful, serious, and radical perspectives on art and culture in the world today.

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Reception

Its motto at most art museums and galleries, where so much as inching too close to painting or sculpture can prompt warnings from disgruntle guards. But an unconventional show in Japan last week embraced the opposite premise, encouraging attendees to not only touch art but take it off walls and run off with it, la Gardner Museum heist. All works included in the Stealable Art Exhibition, held at the Same Gallery in Tokyo on July 10, were up for grabs starting at midnight, designated burglar Time following opening reception. The concept was designed to prompt questions about ownership and value in the Art World, investigating the relationship between viewer and artist. When work is displayed as something that can be steal, what kind of work will the artist exhibit? Ask Gallerys press release. What happened to the relationship between viewer and work? According to Japan Times, group show of works by Japanese artists like Joji Nakamura and Merge Majurdan was meant to be up for 10 days, with Gallery Space remaining open 24 hours and security-free for anyone to walk in freely and walk out with their freshly-pillage artistic booty. But the exhibition organizer, Same Gallery owner Tota Hasegawa, might have underestimated the zeal of wannabe art thieves: approximately 200 people visited the show on opening night, many of whom discovered the show on Social Media and welcomed the opportunity to snatch free art. Videos uploaded on Instagram show throngs of eager visitors waiting outside space, with local police intervening to crowd control. The venue was sacked in a matter of minutes. We would like to sincerely apologize to all residents in the neighborhood and those who could not see work despite coming at scheduled time, read statement on Gallerys website. Same Gallery has not yet responded to Hyperallergics ' immediate request for comment.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Staff

When seven workers at Brooklyn Museum first met to draft an open letter in late May, they discussed writing an apology to the borough. So many people think of Brooklyn Museum as a museum that doing it right. But the image that we put out there doesnt reflect how people are treated inside, former employee Mikeeh Zwirner, who is Asian American, told Hyperallergic. We want to write to Brooklyn to apologize for allowing the institution to continue disguising itself as a social justice-orient, diverse Museum when it is actually exploiting numerous BIPOC staff. The Letter ultimately takes the form of a missive to Museums leadership and community decrying harm and daily mistreatment of workers of color, and outlining concrete demands in service of structural change. Sign by 59 then-current and seven former employees, it was title Unbought and Unbossed reference to the campaign slogan of Shirley Chisholm, first Black woman elected to US Congress and Brooklyn native. Over recent years, and despite some programmatic offerings with positive social impact, such as Project Reset, which allows minor offenders to avoid incarceration by taking a two-hour Art class, Brooklyn Museum has been embroiled in a series of controversies related to its relationship to people of color. In 2015, anti-gentrification activists protested outside the Museum, located at the heart of the historically Black Crown Heights neighborhood, as it hosted a real estate summit; in 2018, hiring of a white woman to curate the Museums African Art collection provoked uproar. Much of the criticism has been pointedly directed at Museums leadership. When Director Anne Pasternak co-host Halloween party title Bronx is Burning in 2015, decked with flaming trash cans and bullet hole-speckled cars, it was seen as tone-deaf caricaturing of poverty in the South Bronx. Activist group Decolonize this Place has repeatedly called for the removal of David Berliner from the Museums Board. Formerly CEO of real estate developer Forest City Ratner, which leads divisive housing development Project in Brooklyn, Berliner was named President and COO of the institution in 2016. Museums staff, meanwhile, have faced their own distinct challenges, often in the shadows of these public controversies. According to a spokesperson, 51 % of Brooklyn Museums employees are BIPOC, yet in interviews with former staff, Hyperallergic found dissonance between Museums ' public image and the experience of employees of color within its walls. Nikiesha Hamilton, Brooklyn Museums former head of government, Community relations, and administration, said she was met with resistance when trying to advocate more programming that would cater to the local community. On one such occasion, Berliner told her that he did not want to ghettoize the Brooklyn Museum. That was one of the most racist experiences of my life, Hamilton, who was born and raised in Crown Heights, tell Hyperallergic. I was so embarrassed that I let someone insult my home.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

How Is He Credible?

Batyckas credibility is apparent in multiple ways. For starters, information about himself is readily available to readers. Right after the title of the article, readers can plainly see his name, Dorian Batycka. His name is hyperlink which takes readers to his own personal page which describes his career and various achievements. Readers can learn that Batycka is a curator and art critic currently based in Berlin. He also contributed to a substantial number of renowned publications, including Art and Education, Frieze, Selections, and Nero. The page also includes every article he has ever written for Hyperallergic. Links to his Facebook, Twitter, and email are also visible.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

Sources

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions.

* Please keep in mind that all text is machine-generated, we do not bear any responsibility, and you should always get advice from professionals before taking any actions

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