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- Indexed articles, last 90 days
- 4
- Latest publication
- Sep 8, 2026
- Outlet visibility, for Hyperallergic
- Top 500K sites
- Earliest in this view
- Jul 28, 2026
Latest articles
For Sophie Lewis, Femininity Is Not the Enemy of Feminism (opens the original)
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In challenging the opprobrious history of misogyny within visual art and broader culture, feminist critics can at times dismiss the delights of femininity itself. As independent scholar Sophie Lewis puts it, “when certain feminists first turned against girly things, it was a giant error in Western women’s liberation history.” Lewis’s new book Femmephilia: Love Letters to Trans Mermaids, Queer Mothers, and Marilyn Monroe (2026) aims to redress the strains of feminism that frame adornment as inher
The Scent of Ancient Rome in St. Louis (opens the original)
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ST. LOUIS — A lilac arcade of undulating arches, a box redolent of honey and rose petals, a slender-necked vessel of iridescent glass. Flouting the masculine connotations of the Roman Empire, Ancient Splendor: Roman Art in the Time of Trajan, at the Saint Louis Art Museum, honors the era’s sensuality of a kind that resonates today as felicitously feminine. Organized by Lucrezia Ungaro, archaeological curator of the city of Rome, with curator Hannah Segrave leading on-site production, this playfu
The Thorny Politics of Protest Photography (opens the original)
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In a 2013 essay, author Barrett Swanson asked, “At what point does the aesthetic excellence of the photograph eclipse the depicted event, or, worse, distract the viewer from inquiring into what happened?” With the synchronous explosion of digital news content and unremitting global calamity, it’s a question that strongly resonates today, particularly with photography of protest and social movements. If these images overtly flatter the protestor, they can be accused of fueling performative activi
The Queer Surrealists Who Fought Nazis With Paper Bullets (opens the original)
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ST. LOUIS — “Beneath this mask, another mask. I will never be finished removing all these faces.” This line from a photocollage created by Claude Cahun and Marcel Moore speaks to the magnificent, magnanimous life they shared as both romantic and creative partners — one in which gender and familial identity proved as mercurial as France’s tumultuous political climate in the 1920s and ’30s. Born Lucy Renee Mathilde Schwob and Suzanne Malherbe, respectively, the two met as teens in their hometown o
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For Hyperallergic, the outlet · Measured Aug 1, 2026
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