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The Black Show makes me think about José Saramago’s epic novel “Blindness” (1997), in which blindness invokes darkness, oscillating between sociopolitical misconception and human malice. “I don’t think we did go blind,” reflects one of Saramago’s figures at the end.
Read MoreLevitt’s work typifies the inner world of a person utterly and easily delighted with life—the lives of others, of objects, of despondent and celebratory moments. Her photographs portray a sensitive and honest world unclouded by the politics or social mores of her time.
Read MoreAlthough the theme is hardly predominant, Johnson’s work clearly touches upon the political history of African-Americans in this country. The work includes poignant scenes of death and despair in the African-American community, and suggestions of the oppression that the community has been subjected to.
Read MoreCertainly these films are not representative of the wider world of present-day animation—Disney, Dreamworks and Studio Ghibli, monoliths of optimistic children’s entertainment, can attest to that. But, they do present an interesting question: can animation transition to the world of adult films?
Read MoreWard’s “Shelter” is, I thought, the most provocative piece in the show. I’ve included an image with a separate detail shot of the piece. The architecture is so strange.
Read MoreHe wants students to enjoy how paint is applied to canvas, not worry about color theory. But in his own way, he is teaching color theory through feelings and sight.
Read MoreSavery has paired Nicole Dyer with Dave Eassa, another young artist working out of Baltimore. Eassa feels more the commentator to Dyer, the actor.
Read MoreIt seems to me that Matt Mullican doesn’t present ultimate solutions to these questions, but he ostensibly reveals a structural nexus behind the visual world driven by an archive of signs and symbols.
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