Levi Bentley reviews “You Are the Battery,” a book of poetry by Thomas Devaney. Read further to learn why Bentley compares Devaney’s written work to the sculptures of Cecilia Vicuña.
Read MoreLogan Cryer visits the current exhibition on North Coral St. and writes about a show she calls impressive for delivering art on divisive and difficult topics.
Read MoreRay Simon visits Lightbox Film Center to view a screening of “Chulas Fronteras” by Les Blank. Simon says the film is a beautiful and romantic snapshot of the lives of working-class Mexican Americans living in Texas in the mid-1970s.
Read MoreNatalie Sandstrom visits Julian Hoeber’s solo exhibition at Rosenwald-Wolf Gallery at the University of the Arts and writes a thoughtful review about Hoeber’s art history and philosophical influences and his playful conceptual sculpture.
Read MoreAlex Smith visits Scribe Video Center for a screening of the documentary movie, “Horror Noire: A History of Black Horror” and a Q&A with co-writer of the film, Ashlee Blackwell.
Read MoreDeborah Krieger visits “Narrative Painting in LA” at Craig Krull Gallery in her hometown of Los Angeles, California. The exhibition closes on August 31, 2019.
Read MoreNatalie Sandstrom visits “Additional Assembly Required,” AUTOMAT collective’s 2019 Open Call exhibition.
Read MoreDeborah Krieger visits Asian Arts Initiative’s exhibition “ABOLITION NOW!”, a group exhibition that features artworks about racism and mass incarceration in America and highlights the arts-related work of local prison abolition and anti-incarceration groups.
Read MoreAndrea Kirsh visits the New Chinese Galleries at the Philadelphia Museum of Art. Kirsh says the newly re-arranged exhibit is educational, aesthetically pleasing, and able to appeal to every type of museum guest.
Read MoreMichael Lieberman visits Philly’s newest commercial gallery, Kapp Kapp, to review its inaugural show “Living and Real,” open until August 30th, 2019.
Read MoreMiles Orvell reviews “Site Unseen,” an exhibition of photos and neon sculptures by Laurence Salzmann and John Schlesinger.
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Support for Artblog has been provided by The Philadelphia Cultural Fund.
