Hrag Vartanian is the Editor-in-Chief and co-founder of Hyperallergic. He focuses on the intersection of art, politics, and culture, exploring themes in fine art, urban art, street art, and digital art. Hrag's insights and critiques have been featured in WNYC and Hyperallergic.
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Hrag Vartanian's coverage primarily revolves around the art scene in New York, with a strong emphasis on art shows and books. Given his focus on expert commentary and opinion editorials, he may be interested in pitches from established figures within the local arts community who can provide unique perspectives or insights into upcoming art events or trends.
As Vartanian has a particular interest in art books as well, authors, publishers, or scholars with expertise in this area could also find success when reaching out to him. Additionally, since there are indications of opinion editorial pieces being part of his work, individuals who can offer thought-provoking viewpoints related to the local art scene might capture his attention.
Given Hrag Vartanian's clear geographic focus on New York City and its arts scene, it would be beneficial for pitches to align closely with the city's artistic landscape and cultural happenings.
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Margaret Curtis's deconstruction of American myth, quotidian objects by Marsden Hartley, and Wendy Red Star's bead-inspired installation are among our picks.
By: Hrag Vartanian, Lisa Yin Zhang, Rhea Nayyar
The survey, which happens every five years, rejects the out-of-towner's glossy surfaces in favor of the view from inside.
Plus, the works we're on the fence about in the massive MoMA PS1 survey. A survey of New York is an impossible premise.
Lynette Yiadom-Boakye captures quietude, Seydou Keïta documents a revolution, Renée Green compiles an autoethnography, and much more.
The Venice Biennale's international art exhibition is an unexpected symphony that asks us to ponder what may otherwise be overlooked.
By: Hrag Vartanian
Unmoored from the anchors of deep pockets that often hinder imagination, the artist brought her images of archival documents to an unusual venue in the Italian city.
A professor at the School of the Art Institute of Chicago asked her students to imagine a way to help someone they might encounter. Leadership found that beyond the pale.
By: Hrag Vartanian
The absurdist performance art event at Times Square felt more like an elegy during this national moment.
Precious Okoyomon's new work transforms the concrete corner of the museum courtyard into a place of joy, exploration, and, dare I say, tranquility.
Alan Michelson's public art installation “The Oyster” on Governors Island conjures up the overlooked history of Indigenous shell middens.
