It’s been a decade since selfies took over the internet. While it’s clear that they’re here to stay, the way we take and post them has drastically shifted.

Bad Press follows a Muscogee publication's struggle against local government censorship and corruption.

A new documentary investigates the racist origins of the Stone Mountain monument near Atlanta, Georgia — the Mount Rushmore of white supremacy.

Author Jillian Hernandez theorizes the intersecting formations of gender, class, and race in relation to the self-presentation of Black and Latina women and girls.

All over Instagram, medieval imagery has been remixed, captioned, and somehow reads as peak hilarious, depending on your sense of humor.

As a critic, I’m dying to make a meta-critique of the ways my communities are represented on screen.

As COVID-19 vaccinations continue rollout in some countries, many feel conflicted about the selfie.

As femicide rates continue to rise in the country, there’s more to consider than just the surface-level gesture of #womensupportingwomen.

In this chapter from her new book, The Selfie Generation, Alicia Eler examines how artists and others have harnessed selfies as acts of defiant self-representation.

In his collection of essays, Derek Conrad Murray explores questions of post-blackness by drawing on the artworks of Glenn Ligon, Kehinde Wiley, Mickalene Thomas, and Kalup Linzy.

Is funny art actually funny? The answer, as we see it, is a rousing chorus of “it depends.”

Everything Is Terrible! has 14,000 VHS tapes of the Hollywood film and wants $400,000 to lodge them in the southern California desert.

In his chilling project "YOLOCAUST," Shahak Shapira manipulates the original selfies at the memorial to include actual photos of Nazi crimes.

A benefit sale over post–Inauguration Day weekend featured T-shirts, buttons, and works by more than 200 artists.

Genevieve Gaignard makes the personal political while also creating new American mythologies.

As ASMR videos have sped across the internet, artists have started making their own versions, inducing shivers with soft sounds like clacking, cracking, scratching, and whispering.

LOS ANGELES — Scott Marvel Cassidy’s art makes viewers do a double take.

We all know about the terrible gender disparity in the art world. As ladies, we live with systemic sexism on a daily basis.

It's the 1990s when a young, ambitious filmmaker goes on the hunt for "the Watermelon Woman," a black actress who played mostly mammy roles in 1930s and '40s Hollywood films.

LOS ANGELES — As a woman who was once a teenage girl, I have a certain fondness for any filmic or visual art that harkens back to that time of intense, unbridled feelings, awkward physical changes, and sexual desires running wild ’n free.

In My Wet Hot Drone Summer, anti-surveillance activists defeating corporate overlords is strangely sexy.

The group exhibition Memory Burn at bitforms gallery, curated by Chris Romero, explores the devices we use to record our lives as we confront mortality and death.

Back in the late '90s, I considered going to raves.

Faith Holland’s show TECHNOPHILIA at Transfer Gallery left me wanting more, kind of like I imagine a good dick pic would.

What goes West must always return East because New York is still the center of the American art market.

LOS ANGELES — There’s nothing funny about art. Writing art criticism is a serious endeavor. But at some point, the performance of professionalism in the art world just started to feel like one big joke.

LOS ANGELES — Imagine that you are trying to get dressed underwater but every time you lift your arms the water you’re wading through pulls them back down.

MONTRÉAL — In the 24/7 news cycle of BuzzFeed, the Huffington Post, and every other “content producer” on the internet, there is a fine line between news and entertainment.

The selfie exists everywhere that people own smartphones. DIS Magazine’s #artselfie, published by Jean Boîte Éditions, attempts to freeze one aspect of this cultural moment — the art selfie — by parlaying its meaning into a gleaming, print-only book

LOS ANGELES — Benjamin Lord's grossly delectable photographs, on view in his exhibition The New Retail Mycology at Monte Vista Projects, invite viewers to closely consider the social construction of a landscape.

LOS ANGELES — Artist Jennifer Moon is not the first or the last to experiment with self-surveillance, documenting selfies of her every moment for anyone and no one.

LOS ANGELES — Sometimes the best scenes and characters come to writers and performance artists through improvisation.

LOS ANGELES — K-HOLE members speak in a pseudo corporate-y performative language, using terms like “onboard” in a way that is cringe-inducing, serious, and ambiguously funny.

LOS ANGELES — In Gillian Wearing’s work, the artist serves as a conduit for other peoples' confessions while concealing her own subjectivity. In this exhibition, everyone becomes a stranger — both the visitors to the gallery and the people involved in making the work.

LOS ANGELES — Jacolby Satterwhite’s solo exhibition How lovly is me being as I am is born out of a maternal virtual hive mind.

LOS ANGELES — Behind every face there is a mask. In Ray Anthony Barrett’s solo exhibition Word is Bond at Diane Rosenstein Fine Arts in Hollywood, the artist investigates American cultural identities through the use of anthropomorphized masks.

LOS ANGELES — “Who is Tony Longo?” my editor inquired, after I pitched her on this piece about Thom Andersen’s new short film "The Tony Longo Trilogy" (2014).

LOS ANGELES — There is a new mutant form emerging, pushing its way past the thin layer that separates the interior and exterior world.

LOS ANGELES — It took a while for me to actually sit down and stop flipping through the channels and start leafing through Sara Cwynar’s gorgeous book, The Kitsch Encyclopedia.

LOS ANGELES — The name Andy Warhol is synonymous with Pop art, a movement often written off as apolitical and shallow in its engagement with American culture. Reflections of this assumption are all contained in Little Red Book #296, an album of 18 images that was recently gifted to Tulsa's Philbrook Museum of Art.

LOS ANGELES — Laura Parnes’s four-disk video series Blood and Guts in Hollywood exposes the idealized teenage dream for what it is: A boring, vapid fantasy of "love" that is marketed and sold to an audience of young dreamers searching for their soulmate in the illusions of silver screens and false idols.

LOS ANGELES — The summer months are a time of slowing down, going out, hitting the beach, and drinking far too many iced coffee beverages. And yes, I even remember you., a five-person group show at Aran Cravey Gallery curated by Eric Kim, wraps up the summer season nicely, reminding visitors of the slippery line between personal stories and broader histories.

It’s one thing to take a #museumselfie with a work of art, as if to say, “yes, I was here with this artwork” or “yes, here is my reflection in the surface of this piece.” It’s another thing to make Greco-Roman statues look like they were chiseled specifically for selfie-shooting moments.

LOS ANGELES — The art world has a lot of feelings about Instagram. On a humid Saturday night in Los Angeles, the roving cultural hub ForYourArt spilled their #instaguts about it all through the Instagram Mini-Marathon.

LOS ANGELES — Minor White’s photographs offer a portrait of a life lived in collaboration with the natural world, other people, and the great beyond. This collection of crisp photographs make up the retrospective Manifestations of the Spirit.

LOS ANGELES — In John Altoon's current retrospective at the Los Angeles County Museum of Art, curator Carol S. Eliel organizes a view of this Los Angeles artist's work that spans from his early beginnings in art — heavy strokes of more Cubist-type work — to his delicate, sexually charged ink and watercolors leading up to his death.

LOS ANGELES — Here’s the problem: “It is how people come to see art as a tool, a flavor, or a device.” So says Charlie White, editor of The Enemy, a triannual online journal that publishes long-form essays on criticism, social science, poetry, celebrity, and other cultural interests.

LOS ANGELES — June Wayne’s retrospective at the Pasadena Museum of California Art is a tightly curated, chronologically arranged exhibition of paintings, prints, tapestries, and video by a founder of the feminist art movement.

LOS ANGELES — The self-titled exhibition and zine release Bitches Rule, Cycle 3 is nestled in the back of & Pens Press, an art bookstore in Culver City set to become a roving/pop-up shop and online gallery come June 2.

LOS ANGELES — It’s the end of selfies as we know it. Dearest selfie fanatics, this will be my last story for the Hyperallergic selfie column; after one year of chronicling the selfie’s rise to fame, we collectively decided to let this investigation go off into the netherlands of internet data trails.