Hrag Vartanian

6 days ago | hyperallergic.com | Hrag Vartanian

‣ Plagiarizing independent media is part of corporate media’s business model. Jacob Weindling, writing for Splinter, explains:Plagiarism is shockingly common in mainstream media, especially at the New York Times. In 2019 Vice wrote a whole article just about the New York Times taking other people’s reporting, making it their own and then not linking to the original report, and even that extensive article wasn’t uncovering a new dynamic.

1 week ago | hyperallergic.com | Hrag Vartanian

MONTCLAIR, New Jersey — A famous line from Chinua Achebe’s 1958 novel Things Fall Apart is, “If you don’t like my story, write your own.” That sentiment is particularly poignant for artist Nanette Carter, who used the book’s title for one of her earliest works, which she created while attending graduate school at the Pratt Institute in Brooklyn. The piece is currently on display in her retrospective at the Montclair Art Museum in New Jersey.

1 month ago | hyperallergic.com | Hrag Vartanian |Natalie Haddad |Faye Hirsch |Julia Curl

We rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, please join us as a member. If art both reflects and critique the world around us, there’s more than enough to say at the moment — and plenty of art that can provide some insight.

1 month ago | hyperallergic.com | Hrag Vartanian

We rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, please join us as a member. In Oscar Wilde’s novel The Picture of Dorian Gray (1890), Lord Henry, upon meeting the novel’s namesake character, exclaims, “You are too charming to go in for philanthropy, Mr. Gray — far too charming.” That statement, with which Lord Henry flatters Mr. Gray, denotes a toxic relationship between charity and charm.

1 month ago | hyperallergic.com | Hrag Vartanian

We rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, please join us as a member. At the core of Aaron Gilbert’s painted imagery are figures that appear to resign themselves to the branded hellscapes of lives in decay. Even when he shifts his view to interiors, figures rarely emote, and appear to be attempting to mentally escape from the confines of their allotted space.