When Daniel de Jesús performs he looks just like a painting of the Virgin Mary or a statue of a saint come to life. He wears a blue silk robe and his blue and purple eye make-up runs down his cheeks like tears. His voice resounds in unison with the cello between his knees; a drum machine may keep time or offer up haunting sounds.
Read MoreMost rooms in The Colored Girls Museum are dedicated to women of color; their names are framed in the doorways. This is a museum of Herstory told through art, through shout outs to accomplished and heroic women, and through everyday stories about ordinary and extraordinary lives.
Read MoreJennifer Zarro talks with photographer Shawn Theodore, alias _xST, about his work–including why he shoots in large-format and how people react to his photos.
Read MoreAlthough the festival was put together almost on a whim last year—Settle and her artistic director Cesar Alvarez were seeking a way to use an empty Merriam Theater for two weeks—it became an instant success.
Read MoreThe Institute of Contemporary Art at the University of Pennsylvania has given over its second-floor galleries to the New York art team Valerie Tevere and Angel Nevarez. One of the galleries is simply a radio on a table. It plays an original radio play the duo wrote: a science fiction story about voice recognition technology.
Read MoreHarris is not afraid to investigate and offer in his collages and other artworks a new version of our national and cultural history, one which often illustrates a confounding unfairness we have all inherited.
Read MoreKrimes seems to humanize art theory by putting it through a process of deep reading, personal reflection, and even letting the words suggest alternative readings. His current body of work, on view at the Leonard Pearlstein Gallery at Drexel University, is the result of this approach, his intuitive pathfinding, and chance.
Read MoreCharles Frazier’s Cold Mountain is a book turned into a film and now, into an opera. WHYY’s Peter Crimmins has more.
Read MoreCanadian sculpture artist Jess Perlitz recently opened “Chorus,” a moving audio work comprised of recordings of incarcerated men and women throughout the U.S. She asked them, “If you could sing one song, and have that song heard, what would it be?” She layers the results into a “choir” triggered by a visitor’s arrival into a cell at Eastern State Penitentiary. We interviewed Jess a couple of years ago about the emotions and processes that inform her work, and why it is that you can so often interact with her pieces.
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Support for Artblog has been provided by The Philadelphia Cultural Fund.
