Our collaborative team says the 41 large-scale abstract collage prints, made between 1984 – 1999, based on four (dense, somewhat obscure) books caused them to seek meaning subjectively, which sparked thoughts of what it means to be a major (or minor) artist; whether Stella is major or minor; and whether art should have clearer reference markers to be understood.
Read MoreMichael is moved by the exhibit of works at the AAMP. The works touch on social injustice issues — the aftermath of slavery, police shootings of Black victims, Afro-Futurist utopias created to escape and take revenge. The imagery is stirring if also grisly in some cases, he says.
Read MoreIn her U.S.solo museum debut, Armenian-Egyptian artist Anna Boghiguian treats the politics of today amidst historical lessons from the U.S. past to create the heated emotional environment of protests singed with issues of slavery, bigotry, militarism and more. Katerina says it’s a show you will, if not enjoy, then appreciate for its passion and art making.
Read MoreNew Artblog contributor, Mark Lord visits “Agnes Martin: The Untroubled Mind/Works from the Daniel W. Dietrich II Collection” at the Philadelphia Museum of Art, and meditates on the enduring appeal of Martin’s subtle hand. Lord hopes this small exhibition of minimalist paintings from the 1960s and 70s, on view through October 14, will spark a resurgence of interest in the reclusive artist’s body of work.
Read MoreAndrea Kirsh takes a trip to Chicago and shares her experience of the Museum of Contemporary Art’s recent Howardena Pindell retrospective. Across an impressive range of media and techniques, Pindell’s work tackles race, labor and the technologies that bind. This long-overdue exhibition, which was on view at the MCA from February 24 through May 20, will travel to the Virginia Museum of Fine Art later this year before showing at Brandeis University’s Rose Art Museum in early 2019.
Read MoreMandy Palasik visits Spanish-born architect and industrial designer Patricia Urquiola’s first solo exhibition stateside, at the Philadelphia Museum of Art through March 18th. “Patricia Urquiola: Between Craft and Industry” celebrates Urquiola’s innovative use of familiar forms and traditional techniques to activate both mind and body.
Read MoreImani Roach ponders “Went Looking for Beauty: Refashioning Self,” an exhibition of photographs by Deborah Willis currently at the African American Museum in Philadelphia. On view through April 29th 2018, this partial retrospective shows thematic highlights from Willis’s decades-long journey documenting the richness of black aesthetic and cultural practices, and demonstrates her continuing evolution as an artist.
Read MoreSometimes a show can be too big. Andrea talks about the new, 277+-work exhibition combining outsider and mainstream art at the National Gallery of Art in Washington, D.C., and says it includes many gems that are wonderful to see, but that the show breaks no new ground and winds up overwhelming even the hard-bitten art lover. She provides a few tips on what’s not to be missed.
Read MoreLeah Gallant, Artblog’s 2017 New Art Writing Challenge winner, is back, and this time she’s visiting the Penn Museum’s Asia collections. Here she ponders the Dowager Empress, a Qing Dynasty Chinese quartz crystal sphere of largely unknown origins and history. Gallant slows down to uncover the source of its continued allure, even in our digital age.
Read MoreAndrea writes about the pioneering light artist, Thomas Wilfred, whose use of electricity and projected light in the early 20th Century was an influence on artists of later eras, including James Turrell. Wilfred’s works were on view recently at the Smithsonian American Art Museum in a show (closed Jan. 7) organized by Yale University Art Gallery. The works are difficult to conserve and that may explain why the artist fell out of circulation, as his works sat in storage waiting for tune-ups or fixes. The Museum of Modern Art owns one of Wilfred’s seminal works and Andrea thinks MoMA should bring the piece back for a new audience.
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Support for Artblog has been provided by The Philadelphia Cultural Fund.
