[Rachel examines a deeply moving group exhibition focusing on the lives, dreams, and stories of prisoners in penal facilities all over the U.S. --the artblog editors] You begin with tangible material–concrete, chain-link, cement. Then move through the imaginary, faux-photo backdrops, dreams, desires. All the while, you are immersed in the physical and mental world of contemporary prison life, viewing both reality and reality hoped for. Prison Obscura, on view at Haverford’s Cantor Fitzgerald Gallery through March 7th, is not only comprised of great art–but poignant narratives that deserve witness. Curated by Pete Brook, the exhibition presents a critical look at ... More » »
by Em Meine Photographer and video artist Noah Krell documents peculiar human interactions in his work. Krell uses what he describes as asymmetrical power dynamics to heighten awareness of relationships, either between the characters in his videos or between the viewer and the work itself. His videos make you feel as though a clue is hidden nearby, perhaps as close as the next frame, which will make sense of what you’re watching. Two of Krell’s videos, To Move A Body (Piggyback) (2010) and 30th Birthday Shave (2008), are currently on view in the exhibition “White Boys” at Haverford College’s Cantor ... More » »
The show White Boys, curated by artist Hank Willis Thomas and co-curator Natasha L. Logan at Haverford College’s Cantor Fitzgerald Gallery is a lively reminder that a wide range of art is social and that arguably all art is social. The show of work by 17 artists serves as an addendum to the previous show at the gallery of work by Thomas, whose own conceptual photography explores images of African-American men in popular culture. The current show’s name is a bit of a red herring. Fortunately the art is strong enough to push well beyond stereotypes. And it’s worth noting ... More » »
Possible Cities; Africa in Photography and Video at Haverford College’s Cantor Fitzgerald Gallery through April 29, 2011 was organized by Ruti Talmor, Mellon Postdoctoral fellow, around two considerations: that contemporary Africa is largely urban, and that the work should counter the fact that most images that circulate internationally represent the continent either as a vast nature preserve or as overwhelmed with poverty, health crises and political and social conflicts. No one who has seen international exhibitions during the past decade is likely to have such a narrow view (nor would viewers of The Global Africa Project, currently at the Museum of Arts ... More » »
In connection with the Exhibition, Possible Cities; Africa in photography and video at Haverford College’s Cantor Fitzgerald Gallery March 18 – April 29, 2011, a symposium, Imaging Africa will be held on Saturday, March 19, 10:45am-3:15 pm. bringing together leading curators, filmmakers, critics, and scholars to discuss the current status of African visual culture. The exhibition aims to challenge representation of Africa as either traditional utopia or postcolonial distopia, offering a more complicated picture of African cosmopolitanism.
By Dennis D’Alesandro Sex Drive is a thoughtfully curated 22-person group show that coincides with the humanities seminar “Sex, State and Society in the Early Modern World.” The show brings together a diverse array of sex-infused artworks that deal with all manner of relevant sexual themes, including fetish, fantasy, infatuation, sin, gender persuasion, public scandal, romance, and the role of political and religious conventions.
I’d met Beauvais Lyons and been aware of his work before I met my friend, Barbara, in the garden opposite the Museum of the American Philosophical Society (APS) where Lyons had set up his display last week (on through tomorrow). Most of those who stopped by, however, had no reason to know this wasn’t another educational display within Independence National Historical Park.
Beautiful Human at Haverford College‘s Cantor Fitzgerald Gallery is a small show with big thoughts that burble and pop as the works by five artists hold a conversation with each other about identity and imagination. The show’s points of view zoom from imaginative self-identificaton to masks and costumes as tribal and cultural signifiers to the tyranny of the genetic code. And those are just the starting points.