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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.
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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.
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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.
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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.”
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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.”
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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.”
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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.”
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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.”
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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.”
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.
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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.
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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.
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© 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.
Xem Câu Chuyện Instagram Bí Mật
Trình Xem Câu Chuyện Instagram là một công cụ dễ sử dụng giúp bạn xem và lưu câu chuyện Instagram, video, ảnh hoặc IGTV một cách bí mật. Với dịch vụ này, bạn có thể tải xuống nội dung và thưởng thức ngoại tuyến bất cứ lúc nào. Nếu bạn tìm thấy điều gì đó thú vị trên Instagram mà bạn muốn xem sau này hoặc muốn xem câu chuyện mà vẫn giữ ẩn danh, Trình Xem của chúng tôi là lựa chọn hoàn hảo. Anonstories cung cấp giải pháp tuyệt vời để giữ kín danh tính của bạn. Instagram ra mắt tính năng Câu Chuyện vào tháng 8 năm 2023, và nhanh chóng được các nền tảng khác áp dụng do định dạng hấp dẫn và nhạy cảm với thời gian. Câu Chuyện cho phép người dùng chia sẻ cập nhật nhanh, bất kể là ảnh, video, hay selfie, được bổ sung với văn bản, emoji, hoặc bộ lọc, và chỉ hiển thị trong 24 giờ. Khoảng thời gian giới hạn này tạo ra mức độ tương tác cao so với các bài đăng thường xuyên. Trong thế giới ngày nay, Câu Chuyện là một trong những cách phổ biến nhất để kết nối và giao tiếp trên mạng xã hội. Tuy nhiên, khi bạn xem một Câu Chuyện, người tạo có thể thấy tên của bạn trong danh sách người xem, điều này có thể gây lo ngại về quyền riêng tư. Nếu bạn muốn duyệt Câu Chuyện mà không bị phát hiện, Anonstories sẽ hữu ích. Nó cho phép bạn xem nội dung công khai trên Instagram mà không tiết lộ danh tính của mình. Chỉ cần nhập tên người dùng của hồ sơ mà bạn tò mò và công cụ này sẽ hiển thị Câu Chuyện mới nhất của họ. Các tính năng của Trình Xem Anonstories: - Duyệt Ẩn Danh: Xem Câu Chuyện mà không xuất hiện trong danh sách người xem. - Không Cần Tài Khoản: Xem nội dung công khai mà không cần đăng ký tài khoản Instagram. - Tải Nội Dung: Lưu bất kỳ nội dung Câu Chuyện nào trực tiếp vào thiết bị của bạn để sử dụng ngoại tuyến. - Xem Highlight: Truy cập các Highlight trên Instagram, ngay cả khi đã qua 24 giờ. - Theo Dõi Đăng Lại: Theo dõi các bài đăng lại hoặc mức độ tương tác trên Câu Chuyện của hồ sơ cá nhân. Hạn chế: - Công cụ này chỉ hoạt động với các tài khoản công khai; các tài khoản riêng tư không thể truy cập. Lợi ích: - Thân thiện với quyền riêng tư: Xem bất kỳ nội dung Instagram nào mà không bị phát hiện. - Đơn giản và dễ dàng: Không cần cài đặt ứng dụng hoặc đăng ký. - Công cụ độc quyền: Tải và quản lý nội dung theo cách mà Instagram không cung cấp.
Lợi ích của Anonstories
Khám Phá Câu Chuyện IG Một Cách Riêng Tư
Theo dõi các cập nhật Instagram một cách kín đáo trong khi bảo vệ quyền riêng tư của bạn và vẫn giữ ẩn danh.
Trình Xem Instagram Riêng Tư
Xem hồ sơ và ảnh một cách ẩn danh dễ dàng với Trình Xem Hồ Sơ Riêng Tư.
Trình Xem Câu Chuyện Miễn Phí
Công cụ miễn phí này cho phép bạn xem Câu Chuyện Instagram ẩn danh, đảm bảo hoạt động của bạn không bị phát hiện bởi người tải lên câu chuyện.
Câu hỏi thường gặp
Ẩn Danh
Anonstories cho phép người dùng xem Câu Chuyện Instagram mà không cảnh báo người tạo.
Tương Thích Thiết Bị
Hoạt động mượt mà trên iOS, Android, Windows, macOS và các trình duyệt hiện đại như Chrome và Safari.
An Toàn và Quyền Riêng Tư
Ưu tiên duyệt web an toàn, ẩn danh mà không yêu cầu thông tin đăng nhập.
Không Cần Đăng Ký
Người dùng có thể xem Câu Chuyện công khai chỉ bằng cách nhập tên người dùng—không cần tài khoản.
Định Dạng Hỗ Trợ
Tải ảnh (JPEG) và video (MP4) một cách dễ dàng.
Chi Phí
Dịch vụ này miễn phí.
Tài Khoản Riêng Tư
Nội dung từ các tài khoản riêng tư chỉ có thể truy cập bởi những người theo dõi.
Sử Dụng Tệp
Các tệp chỉ được sử dụng cho mục đích cá nhân hoặc giáo dục và phải tuân thủ quy định bản quyền.
Cách Hoạt Động
Nhập tên người dùng công khai để xem hoặc tải xuống câu chuyện. Dịch vụ tạo liên kết trực tiếp để lưu nội dung vào thiết bị của bạn.