In “Gut Feelings,” Zuckerman curator Sarah Higgins locates food and eating at the center of an exploration of desire, power, and gender.
Senegalese photographer Omar Victor Diop challenges stereotypical representation through a series of art historical self-portraits.
Jeanine Michna-Bales retraces sites along the Underground Railroad in a series of photographs on view at Arnika Dawkins Gallery.
The Chicago artist embraces various materials and techniques in works that have numerous art-historical references.
In a departure from her textured paintings, Mickalene Thomas uses video and photography to engage both art history and pop culture.
A participant in our Teen Writing Intensive reflects on Daniel Arsham’s exhibition “Hourglass” at the High Museum of Art.
In his latest exhibition, the Savannah artist continues his exploration of the mythic imagery of the contemporary American South.
In a series on view in “Hatched” at Kai Lin Art, artist Carly Drew depicts the layers of change and history beneath the Appalachian landscape.
Artist Mika Agari navigates personal history and longing in intimate video installations at basement gallery Bijan Ferdowsi.
A new gallery in Nashville offers a wow factor with its inaugural exhibition.
Belfast-born artist Claire Morgan’s first exhibition in the US reimagines animal afterlives.
Figurative sculptures and works on paper by California artist Alison Saar portray powerful feminine archetypes.
Two concurrent exhibitions touch on a common theme, despite their divergent aesthetics.
Sean Fahie’s exhibition “First World Problems” features paintings about love, popularity, social media likability and measures of success.
Lonnie Holley’s exhibition “I Snuck Off the Slave Ship” has unexpected moments of personal revelation.
In her chaotic paintings and sculptures, the Atlanta artist assimilates her Korean identity and life in America.
That Rashaad Newsome should choose to take on Les Demoiselles d’Avignon is so perfect. In Look Back at It (2016), all of the figures from Picasso’s painting are replicated, but in collages made up of black bodies, fireballs, and bling. The logic of Newsome’s collage technique draws upon the fragmentation of the body that Picasso…
The works that comprise Cheryl Goldsleger’s current exhibition “Unquiet Territories” at the Morris Museum of Art in Augusta may be described, as the introductory panel does, as weaving together “clearly delineated geometry with abstract, painterly marks to express something akin to our contemporary sensibility.” A far simpler way to describe them might be thus: cartography…