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.
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.
Lindsey Cummins reviews the tug of war between the digital public and personal breadcrumbs found in Matrilineal at Couchpotato Gallery, Louisville.
Burnaway welcomes submissions from Southern/Caribbean-based artists, designers, and researchers for the next cycle of our artist column, Mood Ring!
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.
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.
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.
