Provoked by the placement of Emma Amos’s art at the Philadelphia Museum of Art, an exhibit at the same time as the Jasper Johns exhibit, which seemed to put the Black woman artist’s works subsidiary to the white male artist’s, our contributor Janyce Denise Glasper muses on the two concurrent museum exhibits of Jennifer Packer (at the Whitney Museum and at LA MoCA), and says “Jennifer Packer shifts the narrative to where they (Black artists) can land if given the opportunity.” We hope you enjoy this thoughtful essay by a passionate young writer thinking about the power imbalance in the art world today.
Read MoreNFTs were meant to help artists, but the new ‘Digital Art Market’ seems even more capitalistic and messy than the non-digital one, and has a high environmental cost. The rich get richer, while artists and others are hurt by scams. Artists are not responsible for the technology itself and we understand the tech’s attraction. We, too, believe artists should be paid when their art is re-sold. However, artists who mint NFTs must contend with their negative environmental and economic consequences.
Read MoreOur contributor Janyce Denise Glasper writes an opinionated essay about artists’ placement in museums. Where does Jasper Johns go? Where does Emma Amos? Some artists receive accolades mostly after their death, while others receive praise again and again in life. The art world is still a mostly white world and mostly a white man’s club.
Read MoreDeborah Krieger interviews Kelsey Halliday Johnson, artist and current Executive Director of Portland, Maine’s SPACE (plus former Philly resident/ arts worker/ member of Philly’s DIY-alternative community). Kelsey is enthusiastically dedicated to her role at SPACE, a multi-disciplinary independent maker hub; in particular their grantmaking program, the Kindling Fund.
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