Kate Brock reviews the exhibition “The Highwaymen: Fast Painting the American Dream.” The exhibition includes works made by a group of 26 Black painters who came together to form the collective called The Highwaymen in the Jim Crow Florida.
Read MoreAlex Smith experiences Carolyn Lazard’s Long Take, an immersion in sound, poetry and dance in a darkened ICA with black screens alive with white words of poetry and the sounds of bodies moving but unseen.
Read MoreSusan Isaacs reviews three of the 10 installations that make up Nourish, an exploration of the sustenance that we all need at the Delaware Contemporary. The works and installation Isaacs focuses on offer up critiques of the role of women, in More Than a Woman, Adrian L. Burrell’s film and installation titled The Saints in Kongo Time, and the fantastical work of Miami based artists Federico Uribe. Each offers a different context for nourishment: the female body, the family and its history and the need to repair the plant.
Read MoreElizabeth Johnson talks with Executive Artistic Director Genevieve Coutroubis at the Center for Emerging Visual Artists to learn more about the organization’s structure and programs.
Read MoreJulia Marsh talks with Temple Contemporary Director of Public Programs and Exhibitions, Jova Lynne, to find out the artist-curator’s plans for the gallery and programs.
Read MoreOur contributors Virginia Maksymowicz and Blaise Tobia report on a recent panel at Moore College of Art and Design devoted to talk about cultural policy in light of the current mayoral election campaigns.
Read MoreIn this first of a planned series of interviews with Philadelphia gallerists, Elizabeth Johnson talks with Pentimenti director, Christine Pfister, whose passion for art and artists fuels her 30-year old gallery in Old City.
Read MoreOn a trip to the to see “Sean Scully: The Shape of Ideas,” Logan Cryer is disappointed by the lack of context provided about the artist, whose “work has a bit of a reputation as not being as well-liked as some major art institutions would advertise,” Logan says. Wanting to better understand the abstract artist’s popularity, Logan felt alienated when they found no clear or compelling defense of the work, neither in the wall text, nor through the (lack of) display of documents from the artist himself. What does unimaginative curation mean for the legacy of the artist? Read the review to find out what Logan thinks!
Read MoreAlex Smith reviews Logan Cryer’s latest curation ‘Dark Sousveillance,’ inspired by Simone Browne’s research on Blackness and surveillance. The group show features Black and predominantly queer artists, examining “wanting to be seen by each other, and wanting to hide from the violence of hypervisibility.” The exhibition is on view at Vox Populi, by appointment, thru Jan. 16, 2022.
Read MoreArtblog contributor Susan Isaacs interviews Egyptian-Honduran American artist Jackie Milad about balancing life, work, and art; her artistic process; and identity-based art. Jackie’s work can be viewed at multiple current and upcoming exhibitions!
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