Calling some works startling and unnerving, Logan Cryer makes the case for the importance of Mike Cloud’s provocative, Afro-pessimistic multi-layered non-painting paintings. This is a show you should see, Logan says.
Read MoreDereck Stafford Mangus reviews “The Art of Looking at Art,” a guide book by Gene Wisniewski. Dereck says skillfully unpacks otherwise cryptic art history and art theory materials, and that the book is a valuable asset for ‘art novices’ and art historians alike.
Read MoreArtblog contributor Corey Qureshi visits 12 Gates Arts’s “A Space for Monsters,” inspired by the hybrid poetry-novel “Incubation: A Space For Monsters” by Bhanu Kapil.
Read MoreCo-curators J. Susan Isaacs and Erin Lehman write an essay about their exhibition “All Night Party,” which places contemporary works in conversation with 20th century party dresses, drawing similarities between America’s political climate then and now.
Read MoreA few things to love in a year everyone hated- the 2020 Libertas, Artblog’s annual end-of-year shout-outs!
Read MoreIn the face of COVID-19, Artblog is hosting an open call, non-juried, first come first-served online exhibition entitled “Artists in the time of Coronavirus.”
Read MoreMicheal 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.
Read MoreArtblog contributor, Naveena Vijayan, interviews Wenlu “Lulu” Bao about her exhibition that was at the Delaware Contemporary, “Mind the Gap.”
Read MoreBeth Heinly answers a question about harmful art. Click over to read Beth’s stance on cancel culture (and more).
Read MoreIlana reviews the larger than life oil paintings of Lynette Yiadom-Boakye currently on view at the New Museum. Considering how Yiadom-Boakye’s work is in close dialogue with historical European portraiture, Ilana tells us more about her inspiration, and how she came to choose her subjects.
Read MoreWu Hung’s Contemporary Chinese Art will be required reading for anyone wanting an introduction to the subject, and will also be useful to readers who want to understand the history of international art of the period, since Wu presents Western movements with as much clarity as he charts the uses Chinese artists made of them. It is a more nuanced and complete picture of a recent art culture than any other I know. The essays in The Dynamic Library present a variety of historical and theoretical approaches in clear language that are likely to interest scholars in the humanities, artists interested in classification, and anyone who owns enough books to be concerned with how to sort them.
Read More
Support for Artblog has been provided by The Philadelphia Cultural Fund.