In the Studio with Tim Short
Tyra Douyon visits the studio of Tim Short, a narrative painter based in Stone Mountain, Georgia, to speak on the imaginative and metaphysical iconography tied to Blackness.
BA DAILY
Bryan Castro: to stutter / to atomize / to interrupt at D.D.D.D., New York City
Valentin Diaconov reviews the aesthetic of stuttering found in Bryan Castro: to stutter / to atomize / to interrupt at D.D.D.D., New York City.
Sadie Sheldon: briefly at Sibyl Gallery, New Orleans
Emily Alesandrini reviews Sadie Sheldon’s solo exhibition briefly, in which her alchemy transforms the seemingly worthless into the wondrously worthwhile, at Sibyl Gallery, New Orleans.
“A Different Approach to Pride”: The Third Annual Queer Arts Initiative Showcase at Good Art Co., Greenville
Angie Toole Thompson reviews The Third Annual Queer Arts Initiative Showcase at Good Art Co. in Greenville, South Carolina—an exhibition that holds feelings of joy, humor, horror, and rage in balance–alongside an unbeatable determination to thrive.
Call for Artists: June 2025
Our monthly round of opportunities includes a a residency in Knoxville, a juried exhibition in New Orleans, and a guest curator program in Chattanooga.
Hoa Tay (Flower Hands) at the Ogden Museum of Southern Art, New Orleans
Burnaway takes a close look at Hoa Tay (Flower Hands) at the Ogden Museum of Southern Art, New Orleans.
In the Studio with Honey Pierre
Christal Reese visits the Atlanta-based studio of Honey Pierre to speak on the medium of punch needle, replanting oneself, and reclaiming rest.
In the Studio with Kole Nichols
E.C. Flamming visits the Atlanta-based studio of Kole Nichols to discuss the value of embracing imperfections and the pathway between spaces.
The Time Is Always Now: Artists Reframe the Black Figure at the North Carolina Museum of Art, Raleigh
Colony Little reviews North Carolina Museum of Art’s presentation of Ekow Eshun’s The Time is Always Now, bringing together 23 African diasporic artists who render Black subjectivity, identity, and interiority while subverting notions of the gaze.
