Special Edition: Underrecognized Art Histories

Our work at Hyperallergic means that we often come across stories of under-recognized art stories that tell a story we don’t often hear, whether it’s a little-recognized art movement outside of a city or region or type of work that is largely invisible to art lovers as institutions have been slow to adopt the work due to various factors. While we often research and publish under-recognized art stories, we decided to compile many of these unique stories in a special edition of Hyperallergic to bring them to light. To understand contemporary art, it is necessary to investigate the connections sometimes invisible to those who are unaware of the backstories.

Many of these stories, such as alternative spaces in Los Angeles, may be familiar to many, but we have chosen to include them here to highlight their importance. In the case of LA’s alternative spaces, I frequently encounter people outside of Southern California (and sometimes Californians) who don’t realize the significance of what this city’s artistic innovators have actually created as a foundation that has contributed to the global success of the city. art scene today. In other cases, like the Cass Corridor, I was surprised to learn that people outside the Detroit area rarely know about the movement that has influenced many contemporary artists, writers, and curators in the area and beyond. of the.

A number of stories focus on individuals, like Rafael França, Sam Tchakalian, PHASE 2, Frances Gearhart, Renluka Maharaj and Suchitra Mattai, some of whom have had business careers, museum exhibits and fame, or the still do, but we thought they would benefit from wider exposure of their work to Hyperallergic readers. We also invited artist and writer Daniel Temkin to write about a programming language that might be the least NFT-compatible digital art possible – although given how this market is changing, I can foresee a time when that will also be a victim of financialization.

Our choices are, of course, subjective, and we urge our readers to take note of any stories we might consider for future editions of this series. We hope you enjoy this edition in the spirit it was intended, which is the start of an ongoing conversation about art history and what is included, or excluded, and why.

  • Jordan Karney Chaim examines the influence of alternative spaces of Los Angeles and how they encourage the artists who today are the bold names in contemporary art.
  • Sarah Rose Sharpwho lives in Detroit, writes about the Corridor Cass movement that has influenced generations of artists from this city.
  • Artist Daniel Temkin writes about the open, community and collaborative approach “esolangswhich point to other little-discussed digital art story threads.
  • Writer John Seed tells the story of the Bay Area artist and teacher Sam Tchakalianwho is best known for his abstractions which introduced squeegee-like techniques into his paintings long before others popularized this visual language.
  • Padder Sadaf written about two Indo-Caribbean artists (Renluka Maharaj and Suchitra Mattai) in Colorado who situate female subjects in their art, based on ancestors, living relatives, and deities.
  • Learned Serouj Aprahamian shares the latest poems illustrated by STAGE 2an artist perhaps best known as the first to create a 3D sculpture based on his graffiti work, which once stood in front of the Javits Center in Manhattan until it was suddenly removed and destroyed under bizarre circumstances.
  • Ela Bittencourt considers the innovation of the Brazilian video artist Raphael Francewhose art is intimately linked to the early history of AIDS in the United States and in his country of origin.
  • Anne Wallentine written on the print studio of Frances Gearhartwhich was a hub of the Southern California Arts and Crafts movement.

We would also like to thank the Sam Francis Foundation for supporting articles that delve into California art history, a subject we have long covered in various ways over the years.

Comments are closed.