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Andrea Kirsh visits the Brooklyn Museum and is mightily impressed with the offerings, which showcase Brooklyn artists and contemporary issues in the community.
Read MoreAndrea Kirsh reviews two catalogs documenting and contextualizing exhibits of art by feminist artists of different eras and art genres.
Read MoreAndrea Kirsh hears a talk by Dindga McCannon at the Penn Museum as part of the BlackStar Film Festival’s programs with artists.
Read MoreAndrea reports on the efforts of those involved in the CETA program in the 1970s to reveal and document – and add into the art historical record – the great work produced by the artists in the program and celebrate CETA’s lasting impact on small arts organizations, with funding of administrative staff positions that helped the groups stabilize and grow. Andrea points to CETA as an example of good funding policy that should be considered going forward.
Read MoreSyd Carpenter’s Farm Bowls are mini-portraits of the farms and people she met on trips through the South. Named after these family farms, the Farm Bowls are “remarkable variations on the same, simple form” says reviewer Andrea Kirsh, who also comments about the “Mother Pins” that “they have stunning ranges of textures, coloring, and forms.” The exhibit is at Rowan University Art Gallery until March 26, 2022.
Read MoreAndrea sees works on paper that she first saw in the late 1960s by Anne Ryan, and notes that the highly controlled collages stood apart from the time’s big gestures by abstract expressionists. Andrea says Ryan’s collages are “important reminders… that first-rate art comes in many forms and needn’t follow the common path.” See it at Washburn Gallery, NYC, thru April 2, 2022.
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