Instagramストーリービューア
Instagramストーリーを匿名で見る
hyperallergic
Hyperallergic
Independent art journalism
How do the wealthy choose their art these days?
Peek inside TEFAF New York’s annual “wealth pageant,” as writer Aaron Short puts it. There was plenty to dazzle the patrons of the Nouveau Gilded Age at this year’s edition of the Park Avenue Armory fair.
“Inside, prospective clients trailed by their art advisors nibbled seafood hors d’oeuvres and sipped glasses of rosé while inspecting the presentations of 88 galleries from 14 different countries,” said Short.
Read more at hyperallergic.com.
.
.
.
All photos Aaron Short/Hyperallergic
Image 1: A Kathleen Ryan sculpture on view at Gagosian’s booth at TEFAF New York
Image 2: TEFAF has long held a reputation for attracting the upper tier.
Image 4: François-Xavier Lalanne, “Canard” (2008)
How do the wealthy choose their art these days?
Peek inside TEFAF New York’s annual “wealth pageant,” as writer Aaron Short puts it. There was plenty to dazzle the patrons of the Nouveau Gilded Age at this year’s edition of the Park Avenue Armory fair.
“Inside, prospective clients trailed by their art advisors nibbled seafood hors d’oeuvres and sipped glasses of rosé while inspecting the presentations of 88 galleries from 14 different countries,” said Short.
Read more at hyperallergic.com.
.
.
.
All photos Aaron Short/Hyperallergic
Image 1: A Kathleen Ryan sculpture on view at Gagosian’s booth at TEFAF New York
Image 2: TEFAF has long held a reputation for attracting the upper tier.
Image 4: François-Xavier Lalanne, “Canard” (2008)
How do the wealthy choose their art these days?
Peek inside TEFAF New York’s annual “wealth pageant,” as writer Aaron Short puts it. There was plenty to dazzle the patrons of the Nouveau Gilded Age at this year’s edition of the Park Avenue Armory fair.
“Inside, prospective clients trailed by their art advisors nibbled seafood hors d’oeuvres and sipped glasses of rosé while inspecting the presentations of 88 galleries from 14 different countries,” said Short.
Read more at hyperallergic.com.
.
.
.
All photos Aaron Short/Hyperallergic
Image 1: A Kathleen Ryan sculpture on view at Gagosian’s booth at TEFAF New York
Image 2: TEFAF has long held a reputation for attracting the upper tier.
Image 4: François-Xavier Lalanne, “Canard” (2008)
How do the wealthy choose their art these days?
Peek inside TEFAF New York’s annual “wealth pageant,” as writer Aaron Short puts it. There was plenty to dazzle the patrons of the Nouveau Gilded Age at this year’s edition of the Park Avenue Armory fair.
“Inside, prospective clients trailed by their art advisors nibbled seafood hors d’oeuvres and sipped glasses of rosé while inspecting the presentations of 88 galleries from 14 different countries,” said Short.
Read more at hyperallergic.com.
.
.
.
All photos Aaron Short/Hyperallergic
Image 1: A Kathleen Ryan sculpture on view at Gagosian’s booth at TEFAF New York
Image 2: TEFAF has long held a reputation for attracting the upper tier.
Image 4: François-Xavier Lalanne, “Canard” (2008)
"Frieze New York is an assembly-line salad," says Senior Editor Valentina Di Liscia (@valentina.diliscia).
"At risk of running this analogy into the ground, if visiting a museum exhibition is steak au poivre, attending an art fair has the jittery energy of scarfing down an assembly-line chopped salad in a drab Sweetgreen in midtown Manhattan," Di Liscia writes.
But there were pieces that gave her finding a reprieve from the monotonous rhythm and made her forget she was at a trade show.
Read the full review at Hyperallergic.com
Every art fair season the question arises: If you aren’t an arts journalist or a patron looking to augment your collection, why attend an art fair at all?
“With regard to the 1-54 Contemporary African Art Fair, the answer I find is that it keeps offering surprise and the genuine pleasure of discovery,” says art critic Seph Rodney. “Among the spring art fairs that take place in New York, 1-54, still features work that’s unexpected.”
Read the full review at hyperallergic.com.
.
.
.
Photos Seph Rodney/Hyperallergic
Image 1: Marcel Gotène, “Untitled” (1990), oil on canvas
Image 2: Rommulo Vieira Conceição’s work at Aura Galeria’s booth
Image 3: Work by Candice Tavares
Every art fair season the question arises: If you aren’t an arts journalist or a patron looking to augment your collection, why attend an art fair at all?
“With regard to the 1-54 Contemporary African Art Fair, the answer I find is that it keeps offering surprise and the genuine pleasure of discovery,” says art critic Seph Rodney. “Among the spring art fairs that take place in New York, 1-54, still features work that’s unexpected.”
Read the full review at hyperallergic.com.
.
.
.
Photos Seph Rodney/Hyperallergic
Image 1: Marcel Gotène, “Untitled” (1990), oil on canvas
Image 2: Rommulo Vieira Conceição’s work at Aura Galeria’s booth
Image 3: Work by Candice Tavares
Every art fair season the question arises: If you aren’t an arts journalist or a patron looking to augment your collection, why attend an art fair at all?
“With regard to the 1-54 Contemporary African Art Fair, the answer I find is that it keeps offering surprise and the genuine pleasure of discovery,” says art critic Seph Rodney. “Among the spring art fairs that take place in New York, 1-54, still features work that’s unexpected.”
Read the full review at hyperallergic.com.
.
.
.
Photos Seph Rodney/Hyperallergic
Image 1: Marcel Gotène, “Untitled” (1990), oil on canvas
Image 2: Rommulo Vieira Conceição’s work at Aura Galeria’s booth
Image 3: Work by Candice Tavares
Every art fair season the question arises: If you aren’t an arts journalist or a patron looking to augment your collection, why attend an art fair at all?
“With regard to the 1-54 Contemporary African Art Fair, the answer I find is that it keeps offering surprise and the genuine pleasure of discovery,” says art critic Seph Rodney. “Among the spring art fairs that take place in New York, 1-54, still features work that’s unexpected.”
Read the full review at hyperallergic.com.
.
.
.
Photos Seph Rodney/Hyperallergic
Image 1: Marcel Gotène, “Untitled” (1990), oil on canvas
Image 2: Rommulo Vieira Conceição’s work at Aura Galeria’s booth
Image 3: Work by Candice Tavares
Every art fair season the question arises: If you aren’t an arts journalist or a patron looking to augment your collection, why attend an art fair at all?
“With regard to the 1-54 Contemporary African Art Fair, the answer I find is that it keeps offering surprise and the genuine pleasure of discovery,” says art critic Seph Rodney. “Among the spring art fairs that take place in New York, 1-54, still features work that’s unexpected.”
Read the full review at hyperallergic.com.
.
.
.
Photos Seph Rodney/Hyperallergic
Image 1: Marcel Gotène, “Untitled” (1990), oil on canvas
Image 2: Rommulo Vieira Conceição’s work at Aura Galeria’s booth
Image 3: Work by Candice Tavares
Staff writer Rhea Nayyar explores the seemingly interchangeable tropes and trends present at the 12th annual New Art Dealers Alliance (NADA) fair including vibrant kitsch, zany little sculptures, shiny stuff™, and lots of florals (in the spring? groundbreaking!).
"All of that is to say that there were many works — including those among the aforementioned tropes and their varying combinations — that I did enjoy, and probably would have felt more strongly about outside of the context of NADA," Nayyar says.
Watch along for her standouts and read Nayyar's full take on our website.
In New York City, spring fairs are in full throttle. Hyperallergic went behind-the-scenes to get more information about what it costs to participate in these highly coveted events.
We asked 13 New York art fairs to open up about booth costs, and what they shared (and didn’t) revealed much about affordability and the cost-benefit equation for galleries weighing their options in an increasingly tight market.
Get all the details at hyperallergic.com.
.
.
.
Image: A bird’s-eye view of Frieze New York 2025 (photo Casey Kelbaugh, courtesy Frieze and CKA)
Artist Maia Chao will activate the Whitney’s seventh-floor galleries with her performance “Being Moved” as part of the museum’s 2026 Biennial. The piece “presses on the idea of art as a catalyst for social or political change, and on the museum’s tendency to present itself as the stage for that possibility,” says writer Clara Maria Apostolatos.
Across performances, participatory projects, and interventions, artist Maia Chao approaches the museum less as a neutral space than as a structure that quietly trains behavior and participation. “Being Moved” is a continuation of that thread.
Read the full feature at hyperallergic.com.
.
.
.
Image 1: Maia Chao, “Being Moved” (2026) (photo Amelia Golden, courtesy Maia Chao and the Whitney Museum of American Art)
Image 2: Maia Chao (photo Amelia Golden, courtesy the artist)
Image 3: Top: Maia Chao, “Being Moved” (2026) (photo Amelia Golden, courtesy Maia Chao and the Whitney Museum of American Art); Bottom: A visitor engaging in Maia Chao, “Scores for the Museum Visitor” (2026), vinyl on wall, dimensions variable (photo Beatriz Cifuentes, courtesy Maia Chao and the Whitney Museum of American Art)
Artist Maia Chao will activate the Whitney’s seventh-floor galleries with her performance “Being Moved” as part of the museum’s 2026 Biennial. The piece “presses on the idea of art as a catalyst for social or political change, and on the museum’s tendency to present itself as the stage for that possibility,” says writer Clara Maria Apostolatos.
Across performances, participatory projects, and interventions, artist Maia Chao approaches the museum less as a neutral space than as a structure that quietly trains behavior and participation. “Being Moved” is a continuation of that thread.
Read the full feature at hyperallergic.com.
.
.
.
Image 1: Maia Chao, “Being Moved” (2026) (photo Amelia Golden, courtesy Maia Chao and the Whitney Museum of American Art)
Image 2: Maia Chao (photo Amelia Golden, courtesy the artist)
Image 3: Top: Maia Chao, “Being Moved” (2026) (photo Amelia Golden, courtesy Maia Chao and the Whitney Museum of American Art); Bottom: A visitor engaging in Maia Chao, “Scores for the Museum Visitor” (2026), vinyl on wall, dimensions variable (photo Beatriz Cifuentes, courtesy Maia Chao and the Whitney Museum of American Art)
Artist Maia Chao will activate the Whitney’s seventh-floor galleries with her performance “Being Moved” as part of the museum’s 2026 Biennial. The piece “presses on the idea of art as a catalyst for social or political change, and on the museum’s tendency to present itself as the stage for that possibility,” says writer Clara Maria Apostolatos.
Across performances, participatory projects, and interventions, artist Maia Chao approaches the museum less as a neutral space than as a structure that quietly trains behavior and participation. “Being Moved” is a continuation of that thread.
Read the full feature at hyperallergic.com.
.
.
.
Image 1: Maia Chao, “Being Moved” (2026) (photo Amelia Golden, courtesy Maia Chao and the Whitney Museum of American Art)
Image 2: Maia Chao (photo Amelia Golden, courtesy the artist)
Image 3: Top: Maia Chao, “Being Moved” (2026) (photo Amelia Golden, courtesy Maia Chao and the Whitney Museum of American Art); Bottom: A visitor engaging in Maia Chao, “Scores for the Museum Visitor” (2026), vinyl on wall, dimensions variable (photo Beatriz Cifuentes, courtesy Maia Chao and the Whitney Museum of American Art)
Artist Maia Chao will activate the Whitney’s seventh-floor galleries with her performance “Being Moved” as part of the museum’s 2026 Biennial. The piece “presses on the idea of art as a catalyst for social or political change, and on the museum’s tendency to present itself as the stage for that possibility,” says writer Clara Maria Apostolatos.
Across performances, participatory projects, and interventions, artist Maia Chao approaches the museum less as a neutral space than as a structure that quietly trains behavior and participation. “Being Moved” is a continuation of that thread.
Read the full feature at hyperallergic.com.
.
.
.
Image 1: Maia Chao, “Being Moved” (2026) (photo Amelia Golden, courtesy Maia Chao and the Whitney Museum of American Art)
Image 2: Maia Chao (photo Amelia Golden, courtesy the artist)
Image 3: Top: Maia Chao, “Being Moved” (2026) (photo Amelia Golden, courtesy Maia Chao and the Whitney Museum of American Art); Bottom: A visitor engaging in Maia Chao, “Scores for the Museum Visitor” (2026), vinyl on wall, dimensions variable (photo Beatriz Cifuentes, courtesy Maia Chao and the Whitney Museum of American Art)
In response to the new 22-foot-tall golden statue of Donald Trump at his golf course in Miami, art critic Ed Simon likens this “Don Colossus” to idolatry, using theological narratives to bolster his argument.
While televangelist Mark Burns posted on X that this statue was “not a golden calf” — though he believes the president was “divinely appointed” — Simon leads us through religious history that begs to differ.
.
.
.
Image 1: Golden Donald Trump statue at his National Doral golf club in Miami, Florida (photo Ben Jared/PGA TOUR via Getty Images)
Image 2: Andrea di Lione, “Adoration of the Golden Calf” (1626–1629) (via Wikimedia Commons)
In response to the new 22-foot-tall golden statue of Donald Trump at his golf course in Miami, art critic Ed Simon likens this “Don Colossus” to idolatry, using theological narratives to bolster his argument.
While televangelist Mark Burns posted on X that this statue was “not a golden calf” — though he believes the president was “divinely appointed” — Simon leads us through religious history that begs to differ.
.
.
.
Image 1: Golden Donald Trump statue at his National Doral golf club in Miami, Florida (photo Ben Jared/PGA TOUR via Getty Images)
Image 2: Andrea di Lione, “Adoration of the Golden Calf” (1626–1629) (via Wikimedia Commons)
In response to the new 22-foot-tall golden statue of Donald Trump at his golf course in Miami, art critic Ed Simon likens this “Don Colossus” to idolatry, using theological narratives to bolster his argument.
While televangelist Mark Burns posted on X that this statue was “not a golden calf” — though he believes the president was “divinely appointed” — Simon leads us through religious history that begs to differ.
.
.
.
Image 1: Golden Donald Trump statue at his National Doral golf club in Miami, Florida (photo Ben Jared/PGA TOUR via Getty Images)
Image 2: Andrea di Lione, “Adoration of the Golden Calf” (1626–1629) (via Wikimedia Commons)
Opening Saturday, May 16 at The Bishop Gallery, “Our Friend, Jean,” is an intimate collection of art and ephemera from the precipice of Jean-Michel Basquiat’s career explosion. This exhibition returns to Brooklyn after traveling to six historically Black colleges and universities (HBCUs) — a major first for Basquiat’s work.
The artist was frequently othered and endured racial discrimination within and beyond the art world. When “Our Friend, Jean” was first shown at The Bishop Gallery in 2019, his story was finally being told by Black Brooklynite gallerists who shared and intrinsically understood his background. This return marks a continuation of his story.
While thousands will descend upon Manhattan this week for the bulk of New York’s spring art fairs, The Bishop Gallery encourages visitors to tune out the numbers and trends and spend time with some of the most important samples of contemporary art history ever produced in the city.
Read more about the exhibition at hyperallergic.com.
.
.
.
All images courtesy The Bishop Gallery
Image 1: Jean-Michel Basquiat, “Blue” (c. 1979–80)
Image 2: One of dozens of portraits Alexis Adler took of Jean-Michel Basquiat when they lived together (photo Alexis Adler)
Francisco de Zurbarán, the brilliant, 17th-century Spanish painter, is showing off the fruits of his piety (perhaps) on the grand scale at London’s National Gallery for the very first time. The artist’s enormous depictions of crucifixions, monks in tattered habits, and richly adorned female saints once hung in churches or monasteries in Spain.
They have the effect of “frightening you back to God,” says art critic Michael Glover. But for all of this godliness, Glover ponders, was Zurbarán himself a pious man? Does belief actually make a difference in how well you paint?
Read Michael Glover’s full review at hyperallergic.com.
.
.
.
All images courtesy the National Gallery, London
Image 1: Francisco de Zurbarán, “Saint Peter Nolasco’s Vision of Saint Peter the Apostle” (1629)
Image 2: Francisco de Zurbarán, “Virgin and Child with Infant St John the Baptist” (1658)
Image 3: Francisco de Zurbarán, “Hercules and Cerberus” (1634)
Image 4: Francisco de Zurbarán, “The Crucified Christ with a Painter” (c. 1650)
Francisco de Zurbarán, the brilliant, 17th-century Spanish painter, is showing off the fruits of his piety (perhaps) on the grand scale at London’s National Gallery for the very first time. The artist’s enormous depictions of crucifixions, monks in tattered habits, and richly adorned female saints once hung in churches or monasteries in Spain.
They have the effect of “frightening you back to God,” says art critic Michael Glover. But for all of this godliness, Glover ponders, was Zurbarán himself a pious man? Does belief actually make a difference in how well you paint?
Read Michael Glover’s full review at hyperallergic.com.
.
.
.
All images courtesy the National Gallery, London
Image 1: Francisco de Zurbarán, “Saint Peter Nolasco’s Vision of Saint Peter the Apostle” (1629)
Image 2: Francisco de Zurbarán, “Virgin and Child with Infant St John the Baptist” (1658)
Image 3: Francisco de Zurbarán, “Hercules and Cerberus” (1634)
Image 4: Francisco de Zurbarán, “The Crucified Christ with a Painter” (c. 1650)
Francisco de Zurbarán, the brilliant, 17th-century Spanish painter, is showing off the fruits of his piety (perhaps) on the grand scale at London’s National Gallery for the very first time. The artist’s enormous depictions of crucifixions, monks in tattered habits, and richly adorned female saints once hung in churches or monasteries in Spain.
They have the effect of “frightening you back to God,” says art critic Michael Glover. But for all of this godliness, Glover ponders, was Zurbarán himself a pious man? Does belief actually make a difference in how well you paint?
Read Michael Glover’s full review at hyperallergic.com.
.
.
.
All images courtesy the National Gallery, London
Image 1: Francisco de Zurbarán, “Saint Peter Nolasco’s Vision of Saint Peter the Apostle” (1629)
Image 2: Francisco de Zurbarán, “Virgin and Child with Infant St John the Baptist” (1658)
Image 3: Francisco de Zurbarán, “Hercules and Cerberus” (1634)
Image 4: Francisco de Zurbarán, “The Crucified Christ with a Painter” (c. 1650)
Francisco de Zurbarán, the brilliant, 17th-century Spanish painter, is showing off the fruits of his piety (perhaps) on the grand scale at London’s National Gallery for the very first time. The artist’s enormous depictions of crucifixions, monks in tattered habits, and richly adorned female saints once hung in churches or monasteries in Spain.
They have the effect of “frightening you back to God,” says art critic Michael Glover. But for all of this godliness, Glover ponders, was Zurbarán himself a pious man? Does belief actually make a difference in how well you paint?
Read Michael Glover’s full review at hyperallergic.com.
.
.
.
All images courtesy the National Gallery, London
Image 1: Francisco de Zurbarán, “Saint Peter Nolasco’s Vision of Saint Peter the Apostle” (1629)
Image 2: Francisco de Zurbarán, “Virgin and Child with Infant St John the Baptist” (1658)
Image 3: Francisco de Zurbarán, “Hercules and Cerberus” (1634)
Image 4: Francisco de Zurbarán, “The Crucified Christ with a Painter” (c. 1650)
Francisco de Zurbarán, the brilliant, 17th-century Spanish painter, is showing off the fruits of his piety (perhaps) on the grand scale at London’s National Gallery for the very first time. The artist’s enormous depictions of crucifixions, monks in tattered habits, and richly adorned female saints once hung in churches or monasteries in Spain.
They have the effect of “frightening you back to God,” says art critic Michael Glover. But for all of this godliness, Glover ponders, was Zurbarán himself a pious man? Does belief actually make a difference in how well you paint?
Read Michael Glover’s full review at hyperallergic.com.
.
.
.
All images courtesy the National Gallery, London
Image 1: Francisco de Zurbarán, “Saint Peter Nolasco’s Vision of Saint Peter the Apostle” (1629)
Image 2: Francisco de Zurbarán, “Virgin and Child with Infant St John the Baptist” (1658)
Image 3: Francisco de Zurbarán, “Hercules and Cerberus” (1634)
Image 4: Francisco de Zurbarán, “The Crucified Christ with a Painter” (c. 1650)
You know Mozart’s music—but what do you know about his life?
A new exhibition at NYC’s Morgan Library has the answers, guiding visitors through the life and career of the virtuoso via art and well-preserved ephemera—from his childhood violin made of spruce and maple, to original sketches of the set design of the opera “The Magic Flute.”
.
.
.
Image 1: Attributed to Giambettino Cignaroli, “Mozart in Verona” (1770), oil on canvas (photo courtesy Morgan Library & Museum)
Image 2: Jean-Baptiste Delafosse, after Louis Carrogis de Carmontelle (1717–1806), “The Mozart Family, Paris” (1764), copperplate engraving (photo courtesy Morgan Library & Museum)
Image 3: Wolfgang Amadeus Mozart, Mozart’s earliest compositions (1761), musical manuscript in the hand of Leopold Mozart Andante in C (K. 1a) (photo Anthony Troncale, courtesy Morgan Library & Museum)
Image 4: Installation view of Wolfgang Amadeus Mozart: Treasures from the Mozarteum Foundation of Salzburg at the Morgan Library & Museum (photo Greta Rainbow/Hyperallergic)
Image 5: Josef Gail, set design for act 2, scene 4, in the original production of Die Zauberflöte (The Magic Flute, K. 620) in Vienna in 1791, graphite and ink on paper (photo courtesy Morgan Library & Museum)
You know Mozart’s music—but what do you know about his life?
A new exhibition at NYC’s Morgan Library has the answers, guiding visitors through the life and career of the virtuoso via art and well-preserved ephemera—from his childhood violin made of spruce and maple, to original sketches of the set design of the opera “The Magic Flute.”
.
.
.
Image 1: Attributed to Giambettino Cignaroli, “Mozart in Verona” (1770), oil on canvas (photo courtesy Morgan Library & Museum)
Image 2: Jean-Baptiste Delafosse, after Louis Carrogis de Carmontelle (1717–1806), “The Mozart Family, Paris” (1764), copperplate engraving (photo courtesy Morgan Library & Museum)
Image 3: Wolfgang Amadeus Mozart, Mozart’s earliest compositions (1761), musical manuscript in the hand of Leopold Mozart Andante in C (K. 1a) (photo Anthony Troncale, courtesy Morgan Library & Museum)
Image 4: Installation view of Wolfgang Amadeus Mozart: Treasures from the Mozarteum Foundation of Salzburg at the Morgan Library & Museum (photo Greta Rainbow/Hyperallergic)
Image 5: Josef Gail, set design for act 2, scene 4, in the original production of Die Zauberflöte (The Magic Flute, K. 620) in Vienna in 1791, graphite and ink on paper (photo courtesy Morgan Library & Museum)
You know Mozart’s music—but what do you know about his life?
A new exhibition at NYC’s Morgan Library has the answers, guiding visitors through the life and career of the virtuoso via art and well-preserved ephemera—from his childhood violin made of spruce and maple, to original sketches of the set design of the opera “The Magic Flute.”
.
.
.
Image 1: Attributed to Giambettino Cignaroli, “Mozart in Verona” (1770), oil on canvas (photo courtesy Morgan Library & Museum)
Image 2: Jean-Baptiste Delafosse, after Louis Carrogis de Carmontelle (1717–1806), “The Mozart Family, Paris” (1764), copperplate engraving (photo courtesy Morgan Library & Museum)
Image 3: Wolfgang Amadeus Mozart, Mozart’s earliest compositions (1761), musical manuscript in the hand of Leopold Mozart Andante in C (K. 1a) (photo Anthony Troncale, courtesy Morgan Library & Museum)
Image 4: Installation view of Wolfgang Amadeus Mozart: Treasures from the Mozarteum Foundation of Salzburg at the Morgan Library & Museum (photo Greta Rainbow/Hyperallergic)
Image 5: Josef Gail, set design for act 2, scene 4, in the original production of Die Zauberflöte (The Magic Flute, K. 620) in Vienna in 1791, graphite and ink on paper (photo courtesy Morgan Library & Museum)
You know Mozart’s music—but what do you know about his life?
A new exhibition at NYC’s Morgan Library has the answers, guiding visitors through the life and career of the virtuoso via art and well-preserved ephemera—from his childhood violin made of spruce and maple, to original sketches of the set design of the opera “The Magic Flute.”
.
.
.
Image 1: Attributed to Giambettino Cignaroli, “Mozart in Verona” (1770), oil on canvas (photo courtesy Morgan Library & Museum)
Image 2: Jean-Baptiste Delafosse, after Louis Carrogis de Carmontelle (1717–1806), “The Mozart Family, Paris” (1764), copperplate engraving (photo courtesy Morgan Library & Museum)
Image 3: Wolfgang Amadeus Mozart, Mozart’s earliest compositions (1761), musical manuscript in the hand of Leopold Mozart Andante in C (K. 1a) (photo Anthony Troncale, courtesy Morgan Library & Museum)
Image 4: Installation view of Wolfgang Amadeus Mozart: Treasures from the Mozarteum Foundation of Salzburg at the Morgan Library & Museum (photo Greta Rainbow/Hyperallergic)
Image 5: Josef Gail, set design for act 2, scene 4, in the original production of Die Zauberflöte (The Magic Flute, K. 620) in Vienna in 1791, graphite and ink on paper (photo courtesy Morgan Library & Museum)
You know Mozart’s music—but what do you know about his life?
A new exhibition at NYC’s Morgan Library has the answers, guiding visitors through the life and career of the virtuoso via art and well-preserved ephemera—from his childhood violin made of spruce and maple, to original sketches of the set design of the opera “The Magic Flute.”
.
.
.
Image 1: Attributed to Giambettino Cignaroli, “Mozart in Verona” (1770), oil on canvas (photo courtesy Morgan Library & Museum)
Image 2: Jean-Baptiste Delafosse, after Louis Carrogis de Carmontelle (1717–1806), “The Mozart Family, Paris” (1764), copperplate engraving (photo courtesy Morgan Library & Museum)
Image 3: Wolfgang Amadeus Mozart, Mozart’s earliest compositions (1761), musical manuscript in the hand of Leopold Mozart Andante in C (K. 1a) (photo Anthony Troncale, courtesy Morgan Library & Museum)
Image 4: Installation view of Wolfgang Amadeus Mozart: Treasures from the Mozarteum Foundation of Salzburg at the Morgan Library & Museum (photo Greta Rainbow/Hyperallergic)
Image 5: Josef Gail, set design for act 2, scene 4, in the original production of Die Zauberflöte (The Magic Flute, K. 620) in Vienna in 1791, graphite and ink on paper (photo courtesy Morgan Library & Museum)
You know Mozart’s music—but what do you know about his life?
A new exhibition at NYC’s Morgan Library has the answers, guiding visitors through the life and career of the virtuoso via art and well-preserved ephemera—from his childhood violin made of spruce and maple, to original sketches of the set design of the opera “The Magic Flute.”
.
.
.
Image 1: Attributed to Giambettino Cignaroli, “Mozart in Verona” (1770), oil on canvas (photo courtesy Morgan Library & Museum)
Image 2: Jean-Baptiste Delafosse, after Louis Carrogis de Carmontelle (1717–1806), “The Mozart Family, Paris” (1764), copperplate engraving (photo courtesy Morgan Library & Museum)
Image 3: Wolfgang Amadeus Mozart, Mozart’s earliest compositions (1761), musical manuscript in the hand of Leopold Mozart Andante in C (K. 1a) (photo Anthony Troncale, courtesy Morgan Library & Museum)
Image 4: Installation view of Wolfgang Amadeus Mozart: Treasures from the Mozarteum Foundation of Salzburg at the Morgan Library & Museum (photo Greta Rainbow/Hyperallergic)
Image 5: Josef Gail, set design for act 2, scene 4, in the original production of Die Zauberflöte (The Magic Flute, K. 620) in Vienna in 1791, graphite and ink on paper (photo courtesy Morgan Library & Museum)
What exactly is an Artist Corporation, and should you start one? Paddy Johnson (@netvvrk.art) explains this new type of business structure that was in a bill introduced in the Colorado state legislature.
.
.
.
Image: Have you registered your “A-Corp” already? (edit Shari Flores/Hyperallergic)
Mierle Laderman Ukeles has been spotlighting marginal, unpaid, and feminine labor for decades. In the 70s, she was an artist-in-residence at the New York City Department of Sanitation, and now a new documentary about her work is on the big screen.
“Maintence Artist” is hitting theaters in “an easily digestible biography to spread the word about Ukeles,” says art critic Dan Schindel.
Read the full review at hyperallergic.com.
.
.
.
© Mierle Laderman Ukeles; photo Robin Holland, courtesy the artist and Ronald Feldman Gallery, NY
Image 1: Mierle Laderman Ukeles, “Touch Sanitation Performance” (1979–80)
Image 2: Mierle Laderman Ukeles, “Washing / Tracks / Maintenance: Outside” (1973), performance at Wadsworth Atheneum, Hartford
Image 3: Mierle Laderman Ukeles, “Touch Sanitation Performance” (1980)
Image 4: Mierle Laderman Ukeles, “The Social Mirror” (1983), New York City 20 cubic yard Department of Sanitation garbage collection truck covered in glass mirror and acrylic mirror, created in collaboration with the New York City Department of Sanitation.
Mierle Laderman Ukeles has been spotlighting marginal, unpaid, and feminine labor for decades. In the 70s, she was an artist-in-residence at the New York City Department of Sanitation, and now a new documentary about her work is on the big screen.
“Maintence Artist” is hitting theaters in “an easily digestible biography to spread the word about Ukeles,” says art critic Dan Schindel.
Read the full review at hyperallergic.com.
.
.
.
© Mierle Laderman Ukeles; photo Robin Holland, courtesy the artist and Ronald Feldman Gallery, NY
Image 1: Mierle Laderman Ukeles, “Touch Sanitation Performance” (1979–80)
Image 2: Mierle Laderman Ukeles, “Washing / Tracks / Maintenance: Outside” (1973), performance at Wadsworth Atheneum, Hartford
Image 3: Mierle Laderman Ukeles, “Touch Sanitation Performance” (1980)
Image 4: Mierle Laderman Ukeles, “The Social Mirror” (1983), New York City 20 cubic yard Department of Sanitation garbage collection truck covered in glass mirror and acrylic mirror, created in collaboration with the New York City Department of Sanitation.
Mierle Laderman Ukeles has been spotlighting marginal, unpaid, and feminine labor for decades. In the 70s, she was an artist-in-residence at the New York City Department of Sanitation, and now a new documentary about her work is on the big screen.
“Maintence Artist” is hitting theaters in “an easily digestible biography to spread the word about Ukeles,” says art critic Dan Schindel.
Read the full review at hyperallergic.com.
.
.
.
© Mierle Laderman Ukeles; photo Robin Holland, courtesy the artist and Ronald Feldman Gallery, NY
Image 1: Mierle Laderman Ukeles, “Touch Sanitation Performance” (1979–80)
Image 2: Mierle Laderman Ukeles, “Washing / Tracks / Maintenance: Outside” (1973), performance at Wadsworth Atheneum, Hartford
Image 3: Mierle Laderman Ukeles, “Touch Sanitation Performance” (1980)
Image 4: Mierle Laderman Ukeles, “The Social Mirror” (1983), New York City 20 cubic yard Department of Sanitation garbage collection truck covered in glass mirror and acrylic mirror, created in collaboration with the New York City Department of Sanitation.
Mierle Laderman Ukeles has been spotlighting marginal, unpaid, and feminine labor for decades. In the 70s, she was an artist-in-residence at the New York City Department of Sanitation, and now a new documentary about her work is on the big screen.
“Maintence Artist” is hitting theaters in “an easily digestible biography to spread the word about Ukeles,” says art critic Dan Schindel.
Read the full review at hyperallergic.com.
.
.
.
© Mierle Laderman Ukeles; photo Robin Holland, courtesy the artist and Ronald Feldman Gallery, NY
Image 1: Mierle Laderman Ukeles, “Touch Sanitation Performance” (1979–80)
Image 2: Mierle Laderman Ukeles, “Washing / Tracks / Maintenance: Outside” (1973), performance at Wadsworth Atheneum, Hartford
Image 3: Mierle Laderman Ukeles, “Touch Sanitation Performance” (1980)
Image 4: Mierle Laderman Ukeles, “The Social Mirror” (1983), New York City 20 cubic yard Department of Sanitation garbage collection truck covered in glass mirror and acrylic mirror, created in collaboration with the New York City Department of Sanitation.
Mierle Laderman Ukeles has been spotlighting marginal, unpaid, and feminine labor for decades. In the 70s, she was an artist-in-residence at the New York City Department of Sanitation, and now a new documentary about her work is on the big screen.
“Maintence Artist” is hitting theaters in “an easily digestible biography to spread the word about Ukeles,” says art critic Dan Schindel.
Read the full review at hyperallergic.com.
.
.
.
© Mierle Laderman Ukeles; photo Robin Holland, courtesy the artist and Ronald Feldman Gallery, NY
Image 1: Mierle Laderman Ukeles, “Touch Sanitation Performance” (1979–80)
Image 2: Mierle Laderman Ukeles, “Washing / Tracks / Maintenance: Outside” (1973), performance at Wadsworth Atheneum, Hartford
Image 3: Mierle Laderman Ukeles, “Touch Sanitation Performance” (1980)
Image 4: Mierle Laderman Ukeles, “The Social Mirror” (1983), New York City 20 cubic yard Department of Sanitation garbage collection truck covered in glass mirror and acrylic mirror, created in collaboration with the New York City Department of Sanitation.
Instagramストーリーを秘密で見る
Instagramストーリービューアは、Instagramストーリー、動画、写真、またはIGTVを秘密に見たり保存したりできる簡単なツールです。このサービスを使用すると、コンテンツをダウンロードして、いつでもオフラインで楽しむことができます。Instagramで後でチェックしたいものを見つけた場合や、匿名でストーリーを見たい場合、このビューアは最適です。Anonstoriesは、あなたの身元を隠すための優れたソリューションを提供します。Instagramは2023年8月にストーリー機能を導入し、すぐに他のプラットフォームでも採用されました。このフォーマットは魅力的で、時間に敏感なため、ユーザーが写真、動画、または自撮りをテキスト、絵文字、またはフィルターで強化して、24時間限定で公開することができます。この限られた時間枠は、通常の投稿に比べて高いエンゲージメントを生み出します。今日の世界では、ストーリーはソーシャルメディアでつながり、コミュニケーションをとる最も人気のある方法の1つです。しかし、ストーリーを視聴すると、作成者は自分の名前を視聴者リストに見ることができ、プライバシーの懸念があります。もしストーリーを目立たずに閲覧したい場合、ここでAnonstoriesが役立ちます。これを使うことで、自分の身元を明かさずにInstagramのコンテンツを視聴できます。単に調べたいプロファイルのユーザー名を入力すると、その人の最新のストーリーが表示されます。Anonstoriesビューアの特徴：- 匿名閲覧：視聴リストに名前が表示されずにストーリーを視聴 - アカウント不要：Instagramのアカウントにサインインせずに公開コンテンツを視聴 - コンテンツダウンロード：ストーリーコンテンツを直接デバイスに保存してオフラインで使用 - ハイライト視聴：24時間を過ぎてもInstagramのハイライトにアクセス - リポストモニタリング：個人プロファイルのストーリーに対するリポストやエンゲージメントのレベルを追跡 制限事項：- このツールは公開アカウントでのみ動作し、非公開アカウントはアクセスできません。 利点：- プライバシー保護：Instagramのコンテンツを匿名で閲覧可能 - シンプルで簡単：アプリのインストールや登録は不要 - 独自のツール：Instagramが提供していない方法でコンテンツをダウンロードおよび管理可能
Anonstoriesの利点
IGストーリーをプライベートに探る
Instagramの更新をプライバシーを守りつつ、匿名で追跡できます。
プライベートInstagramビューア
プライベートプロファイルビューアを使用して、プロフィールと写真を簡単に匿名で閲覧できます。
無料のストーリービューア
この無料ツールでInstagramストーリーを匿名で閲覧でき、アクティビティがストーリーアップローダーに知られることはありません。
よくある質問
匿名性
Anonstoriesを使用すると、作成者に通知されることなくInstagramストーリーを閲覧できます。
デバイス互換性
iOS、Android、Windows、macOS、ChromeやSafariなどの最新のブラウザで問題なく動作します。
安全性とプライバシー
ログイン情報なしで、安全かつ匿名で閲覧できます。
登録不要
ユーザーは、ユーザー名を入力するだけで公開ストーリーを閲覧可能—アカウント登録は不要です。
対応フォーマット
写真（JPEG）と動画（MP4）を簡単にダウンロードできます。
料金
サービスは無料で利用できます。
非公開アカウント
非公開アカウントのコンテンツはフォロワーのみがアクセスできます。
ファイル使用
ファイルは個人または教育目的でのみ使用し、著作権法を遵守する必要があります。
動作方法
公開ユーザー名を入力して、ストーリーを閲覧またはダウンロードします。サービスはコンテンツをローカルに保存するための直接リンクを生成します。