In this essay republished from last year, Jasmine Amussen considers the work of Native artist Hock E Aye VI, or Edgar Heap of Birds, and the annual National Day of Mourning on the fourth Thursday in November.
Madeleine Seidel investigates the analog, digital, and artistic “haunting” of Jacolby Satterwhite’s recent exhibition at Mitchell-Innes & Nash.
Artist Emmalea Russo lays bare the fuzzy, dreamy topographies of love and intimacy within Southern landscapes and Steven Soderbergh’s sex, lies, and videotape.
Yves Jeffcoat meditates and celebrates with the new short film Nobody Knows from Memphis dancer Lil Buck.
In Richmond, Maura Callahan considers the curatorial ambitions and institutional contradictions framing Commonwealth, a group exhibition at the ICA at VCU that examines the intertwined colonial histories of Virginia, Pennsylvania, and Puerto Rico.
Jasmine Amussen revisits the decadent Southern Gothic pleasures and rural realities of HBO’s True Blood.
Ade J. Omotosho sees new ways of documenting Black grief in Miami filmmaker Keisha Rae Witherspoon’s T, which won the Golden Bear for Best Short Film at the Berlin International Film Festival earlier this year.
Margaret Jane Joffrion finds a way back to childhood and a path to heaven at the Kentucky Museum of Arts and Crafts in Louisville.
Ade J. Omotosho considers rhythm and abstraction in painter Hasani Sahlehe’s new work at Westobou Gallery in Augusta, Georgia.