2011 marked a significant year for Hyperallergic, filled with global events that demanded our attention and analysis. Our focus on art commentary aligned with the year’s widespread discontent, making it a busy period for reporting on global unrest, copyright issues, and cultural phenomena.
Our most engaging story of the year was the Egyptian Museum’s peril during the Egyptian Revolution, situated dangerously close to Tahrir Square’s upheaval. As the sole publication initially highlighting the threat to this cultural landmark, our coverage was recognized internationally, including features in The Guardian and appearances on Memeorandum. We collaborated with a Cairo-based writer, whose insights on the role of street art in the revolution were featured in the New York Times’ Lede blog and other prominent platforms.
Occupy Wall Street’s emergence in September saw us leading the narrative on its intersection with visual arts, capturing Randy L. Rasmussen’s iconic image of police violence. Our comprehensive reporting, featured on major sites like Time.com and WashingtonPost.com, included posts on artist involvement, protest signs, and the movement’s art exhibition.
In another notable story, a street artist responded to a controversial lawsuit involving Andy Baio and Jay Maisel by publicly displaying the phrase “All Art Is Theft.” Additionally, our annual list of the ’20 Most Powerless People in the Art World’ drew attention to overlooked figures within the art community.
Other notable stories included a child’s delightful encounter with a Yayoi Kusama installation, a revealing NEA study on American artists, and Zefrey Throwell’s provocative performance art on Wall Street. Aesthetic debates were sparked by Damon Winter’s iPhone photojournalism, and Man Bartlett’s account of Myla DalBesio’s performance highlighted power dynamics in art. Lastly, the viral ‘Pepper Spray Cop’ meme parodied art history, underscoring Occupy Wall Street’s cultural impact.
