MAR ADENTRO at Museo de Arte Contemporáneo de Puerto Rico, San Juan
Burnaway takes a close look at MAR ADENTRO at Museo de Arte Contemporáneo de Puerto Rico, San Juan.
BA DAILY
Calls for Artists: September 2025
Our monthly round up of opportunities includes an invitation to submit small works for an upcoming show in Sarasota, a call to create artwork for a multicultural senior center in Florida, and the 1858 Prize for Contemporary Southern Art.
Linger on the Surface: Outside the Lines at Blue Spiral 1, Asheville
Merin McDivitt reviews Asheville’s Blue Spiral 1’s Outside the Lines, where artists adopt an irreverent approach to surfaces, creating overlapping layers of meaning through unexpected textures and lines, as well as revelations of color and contour.
Brayan Enriquez: Like Hills Made of Sand at Atlanta Center for Photography, Atlanta
Noah Reyes reviews the archival and contemporary reunion of family found in the photographs of Brayan Enriquez: Like Hills Made of Sand at Atlanta Center for Photography, Atlanta.
Matrilineal at Couchpotato Gallery, Louisville
Lindsey Cummins reviews the tug of war between the digital public and personal breadcrumbs found in Matrilineal at Couchpotato Gallery, Louisville.
2026 Mood Ring Open Call
Burnaway welcomes submissions from Southern/Caribbean-based artists, designers, and researchers for the next cycle of our artist column, Mood Ring!
Calls for Artists: August 2025
Our monthly round up of opportunities includes a $50k fellowship and artist grants for artists based in North Carolina, a granting program for Tennessee artists, and live-work studio residencies in Texas.
Keith Duncan: Battle of the Bands, The HBCU Marching Band Series at the Ogden Museum of Southern Art, New Orleans
Thalia Butts reviews the extravagant portrayals and traditions of HBCU marching bands found in Keith Duncan: Battle of the Bands, The HBCU Marching Band Series at the Ogden Museum of Southern Art, New Orleans.
Memory Ware Meets the Multiverse: Topher Lineberry’s Giant-Sized Annual at Lump Gallery
Winston-Salem based writer Matt Garite reviews Topher Lineberry’s Giant-Sized Annual, a two-part exhibition about memory as practice: a way of reassembling what has been discarded or forgotten into new visions of the possible.
