April 10, 2020 by Jessica Rizzo

Beyond Criticism, ‘The Noble Art of Art Writing, The Art Writing Challenge’

April 3, 2020 by Kinaya Hassane

A new exhibition captures the beautiful intimacy of Black hair rituals on canvas

Kinaya Hassane shares the experience of witnessing Patricia Renee’ Thomas’s solo gallery show, “Grapejuice,” at Kapp Kapp Gallery, which will be extended once the lockdown is lifted.

March 27, 2020 by Logan Cryer

The melody of the movement, Asian Arts Initiative’s ‘The Beat of Resistance’

March 23, 2020 by Alex Smith

Of monumental proportions, Karyn Olivier’s ‘Everything That’s Alive Moves’

Alex Smith reviews Karyn Olivier’s newest exhibition at the Institute of Contemporary Art in Philadelphia. The display of monuments by Olivier explores the significance and felt impact of these memorial structures.

March 16, 2020 by Susan Isaacs

Wading into water quality, Stacy Levy’s Collected Watershed at Towson University

Susan Isaacs reviews Stavy Levy’s exhibition Collected Watershed, which is currently installed at the Center for the Arts Gallery at Towson University. Though the gallery is currently closed due to COVID-19, the show’s end date has been extended to April 25, 2020, and the show is presumed to re-open before then.

March 11, 2020 by Michael Lieberman

Dreamscapes burning with organic memory, Michele Kishita’s ‘Absent Futures’ at Central Tattoo

Micheal Liberman reviews Michele Kishita’s “Absent Futures,” a show of landscape paintings made with a traditional wood burning technique, on view at Central Tattoo Studio and Gallery until March 29, 2020.

March 2, 2020 by Kinaya Hassane

Sculpting narratives in Black History, Acori Honzo’s ‘This is Our Story’

Kinaya Hassane reviews Acori Honzo’s latest exhibition at Cherry Street Pier: This is Our Story, closing Saturday, March 7th.

February 28, 2020 by Andrea Kirsh

A three-book starter pack to contemporary indigenous art, Part 2

Andrea Kirsh reviews three books about indigenous art. Part two of two reviews Kate Morris’s “Shifting Grounds; Landscape in Contemporary Native American Art” and Katya García-Antón “Sovereign Words; Indigenous Art, Curation and Criticism”