Cultbytes
Established in 2016, Cultbytes is an online publication focused on art and culture, led by women. It provides insights into contemporary art, offering a wide-ranging yet critical viewpoint.
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2 weeks ago |
cultbytes.com | Anna Mikaela Ekstrand
Elizabeth Colomba is on a mission to bring the portraits of black women into historically male, white dominated cultural spaces. Amidst her latest solo show at Venus Over Manhattan, the gallery hosted a conversation between Colomba and her friend and fellow artist, the acclaimed actress Lucy Liu, who, through her acting, has brought Asian representation to the silver screen.
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3 weeks ago |
cultbytes.com | Anna Mikaela Ekstrand
Perusing the lust archive of the Internet, to contextualize Drink Me! and S.L.UT.S, I watched Andy Warhol’s Flesh (1968), or simply Flesh, directed by Paul Morrissey, yesterday. As a celebration of the glorious Joe Dallesandro, the film is a masterpiece (otherwise it is mediocre at best), and for its delicate investigation of sexual repression and fluidity, lust, and sex work, it was surprisingly current.
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2 months ago |
cultbytes.com | Anna Mikaela Ekstrand
In a Victorian era air, the play “Shelley and Lovelace Never Met” follows its tropes—witty conversations about extramarital affairs, the travails of betrothals, and class between women in bell-shaped skirts and puff sleeves—á la the society gossip papers of the day.
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Feb 11, 2025 |
cultbytes.com | Anna Mikaela Ekstrand
Early January, I was at the crowded opening for SPRING/BREAK Art Show alumni Noah Kloster’s first solo exhibition at the experimental artist-run space MoonCalf NYC. While looking around and trying not to bump into anyone, I see Adam Himbauch. He was talking to a friend, and I go up to him, telling him how much I enjoy his work and seeing it on social media. Honestly, I wasn’t sure how he would react as I was a complete stranger to him, but he was kind and friendly.
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Feb 9, 2025 |
cultbytes.com | Anna Mikaela Ekstrand
In a Victorian era air, the play “Shelley and Lovelace Never Met” follows its tropes—witty conversations about extramarital affairs, the travails of betrothals, and class between women in bell-shaped skirts and puff sleeves—á la the society gossip papers of the day.
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