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2 weeks ago | 
onlinelibrary.wiley.com | Adrienne R. Ernst |Daniel Larkin |Andrea Kramer |Mary-Claire Glasenhardt
1 Introduction The question of how native species characteristics shape invasion, originally raised in invasion biology's foundational work (Elton 1958), remains an active area in ecology (Peng et al. 2019; Smith and Côté 2019; Stohlgren et al. 2003; Naeem et al. 2000). Elton (1958) observed that invasive species established readily in some biological communities, but not in others–these communities seemed to resist invasion.
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3 weeks ago | 
hyperallergic.com | Daniel Larkin
PARIS — Amid collective failures to stop genocide and fascism in 2025, the Book of Revelation’s scenes of vivid combat between good and evil hit home. How satisfying to behold Saint Michael impaling a dragon in a Rhineland manuscript, for instance. At the Bibliothèque nationale de France (BnF) in Paris, a show tracing the Apocalypse across the longer arc of art history is not just another exhibition about the Bible, but a far more biting critique.
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3 weeks ago | 
hyperallergic.com | Natalie Haddad |Lisa Zhang |Jasmine Weber |Alexis Clements |Daniel Larkin
“He taught me how to see, and how to trust what I saw. Painters have often taught writers how to see. And once you’ve had that experience, you see differently.” That’s writer James Baldwin reflecting in an 1984 interview on his late mentor Beauford Delaney, the queer Black painter who introduced the young writer to New York City and opened up for him a new way to see the world.
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3 weeks ago | 
hyperallergic.com | Natalie Haddad |Lisa Zhang |Jasmine Weber |Alexis Clements |Daniel Larkin
Posted inGuide Dig into new and upcoming tomes on the long lineage of LGBTQ+ art, from Beauford Delaney’s bond with James Baldwin to iconic lesbian photographer JEB and Alice Austen.
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1 month ago | 
hyperallergic.com | Lakshmi Rivera Amin |Lisa Zhang |John Yau |Daniel Larkin |Mána Taylor
The artists we’re highlighting this week have diverse practices, ranging from the earthy, unglazed ceramics of Stanley Rosen to the complex, multicolored tapestries of Kenny Nguyen to the embroidered textile-photographs of Spandita Malik, but all share a desire to express personal preoccupations, personalities, and concerns through their art.
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1 month ago | 
hyperallergic.com | Lakshmi Rivera Amin |Lisa Zhang |John Yau |Daniel Larkin |Mána Taylor
Posted inArt Review From ceramic alligators to Nordic traditions, artists focusing on personal concerns and identity are making some fascinating work.
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1 month ago | 
hyperallergic.com | Daniel Larkin
The stress of 2025 is no doubt taking a physical toll — so it’s timely that New York University’s MFA cohort is reckoning with their bodies in the second part of their senior thesis show. This exhibition is not preoccupied with body image, nor restating the obvious about social media-induced dysphoria. It’s more about coming up with novel ways to think about the bodies we inhabit, the stresses they carry, and what they can and can’t perceive.
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1 month ago | 
hyperallergic.com | Daniel Larkin
PARIS — Long lionized as the first breakthrough painter of the early Renaissance, Cimabue has rarely been the subject of monographic exhibitions. With only 12 works securely attributed to him currently, many of which are too fragile to travel, a full retrospective remains a logistical impossibility. For this reason, A New Look at Cimabue at the Louvre offers a once in a lifetime opportunity to see numerous works by this legendary artist in a single room.
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1 month ago | 
hyperallergic.com | Daniel Larkin
Posted inArt Review The Louvre’s conservation of two Cimabue paintings led its curators to reassess the artist not as a predecessor to the Renaissance masters but on his own merits.
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1 month ago | 
hyperallergic.com | Daniel Larkin
In the second part of Pratt College’s MFA Fine Arts Thesis exhibition at its new Brooklyn Navy Yard satellite space, Mouet surprises viewers with a warped canvas. The plywood and poplar structure can be flexible, but also hold this unorthodox shape, subverting the convention of the flat canvas, as well as mirroring the distortedness of our current media, political, and economic climate.
