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In her U.S.solo museum debut, Armenian-Egyptian artist Anna Boghiguian treats the politics of today amidst historical lessons from the U.S. past to create the heated emotional environment of protests singed with issues of slavery, bigotry, militarism and more. Katerina says it’s a show you will, if not enjoy, then appreciate for its passion and art making.
Read MoreOur contributor Carly Bellini is frustrated and infuriated by the Netflix series, based on young adult fiction, with what she calls irresponsible portrayals of such serious teen issues as suicide, rape, bullying, and gun violence. Giving season two the benefit of the doubt, she weighs in on her frustration and offers a couple suggestions to Netflix, because, of course, there’s a third season in the works. Oy! Caution: Spoilers ahead.
Read MoreLogan Cryer is back and thinking about their experience at the Institute for Contemporary Art’s current group show, “The Last Place They Thought Of,” on view through August 12. The exhibition views race and landscape through the specific lens of the black female body.
Read MoreDeb Krieger visits the Clay Studio’s biannual juried show of American ceramic art, “The Clay Studio National,” open May 26th – July 15th. She reports back on the wide range of practices in contemporary clay, from the abstract to the figurative and from the formal to the political.
Read MoreJessica Rizzo visits “Becoming a Specter,” Daniel W. Coburn’s solo current show at the Print Center, awarded him as part of the 92nd ANNUAL International Competition. On view May 18th-August 4th, this exhibition of untitled photographs playfully subverts the camera’s all-seeing powers.
Read MoreNew Artblog contributor, Mark Lord visits “Agnes Martin: The Untroubled Mind/Works from the Daniel W. Dietrich II Collection” at the Philadelphia Museum of Art, and meditates on the enduring appeal of Martin’s subtle hand. Lord hopes this small exhibition of minimalist paintings from the 1960s and 70s, on view through October 14, will spark a resurgence of interest in the reclusive artist’s body of work.
Read MoreThe bibliography of politically-committed art by African American women has gotten considerably richer with the publication of several exhibition catalogs, all of which are essential resources on their subjects. Here, in part 1 of a two-part series, Andrea Kirsh reviews the catalogs for “Howardena Pindell: What Remains to Be Seen” at the Museum of Contemporary Art Chicago and “Joyce J. Scott: Harriet Tubman and Other Truths” at Grounds for Sculpture.
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