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.
Burnaway takes a close look at where the rivers run muddy and the mountains are bare: The 2025 KMAC Triennial at KMAC Contemporary Art Museum, Louisville.
Isabella Marie Garcia visits the studio of Smita Sen to discuss new work that is exploring the heart, emotions in response to the evolution of a place, and performance between Miami and New York City.
Margaret Jane Joffrion reviews the visual games of telephone found in Sterling Allen: TWEEN at Neue Welt, Nashville.
Tara Escolin reviews the decade of unpublished work and revision found in Ron Ewert’s exhibition I’ll Keep it with Mine, at Good Weather in Little Rock.
Anna Nelson-Daniel reviews Diedrick Brackens: the shape of survival in the Walter and Linda Evans Center for African American Studies at the SCAD Museum of Art, Savannah.
Our monthly round of opportunities includes a resident artist program for craft artists in Penland, a residency in Knoxville, and an open call for installation-based solo exhibitions in Miami,
May Howard reviews the role of artists-archivists Myriam Amri and Xitlalli Alvarez Almendariz in An Act to Prohibit Camels and Dromedaries from Running at Large at Friends Gallery, Houston.
Kristina Kay Robinson visits the studio of Matthew Rosenbeck, a multidisplinary artist working in New Orleans who repurposes salvaged, found materials.
