user experience
The user is invited to navigate several vignettes composed of clip-art collages and interface components common to web-based forms, with unclear and unexpected interaction results.
The user is invited to navigate several vignettes composed of clip-art collages and interface components common to web-based forms, with unclear and unexpected interaction results.
In this excerpt from Track changes: a handbook for art criticism, Kristina Kay Robinson speaks on the rules and reminders of her writing and editing practice.
Joe Craig reviews the feminine gestural abstraction in Across Space and Time (The Divine Feminine) by Anastasia Pelias at JONATHAN FERRARA GALLERY in New Orleans.
In solidarity with Abolition Week 2023, Bryn Evans speaks with artist Foad Satterfield in an extended interview to discuss nature’s subversion of carceral geographies.
Zoe Ariyama questions the classifying terms “vernacular”, “outsider”, and “self-taught” in the reinstallation of the permanent collection at the Ogden Museum of Southern Art.
Lucia Olubunmi R. Momoh illuminates the challenge to anti-Blackness in Nic[o] Brierre Aziz’s solo exhibition “I’d rather get out of jail than get 1,000,000 dollars” at Antenna Gallery, New Orleans.
Nora Kovacs explores the multidisciplinary, emotive visions of the collective in The New Member Show at The Front, New Orleans.
Daniel Fuller reviews the ephemeral stills in Picture Man: Portraits By Polo Silk at New Orleans Museum of Art (NOMA) in New Orleans, LA.
Zoe Ariyama contextualizes the permanence of pottery in her review of Katherine Choy: Radical Potter in 1950s New Orleans at the New Orleans Museum of Art (NOMA).