Looking at the work of Carlos Garaicoa, and the architectural exhibition Prefabricating Solidarity at Vanderbilt University’s Engine for Art, Democracy & Justice, Alexandra Martinez traces the lived history of postcolonial Cuban architecture.
Burnaway is excited to announce ‘Sweet Lilly-Marie’, our next Artist Edition by Nashville and New York-based artist Marlos E’van.
Justin Chance sits down with New York City-based artist Marlos E’van to discuss the roles of mentorship and references in E’van’s work, alongside their art object for Burnaway’s fourth Artist Edition.
For the next iteration of the Annotations column, Grace Aneiza Ali reflects on her belief about curating as a space of listening through the form of titles, installations, public programs, the artist’s words, and exhibition catalogs.
Courtney McClellan considers the restorative nostalgia and illusive construction of the Parthenon in Nashville, Tenneessee in our next theme release for SIREN.
Courtney McClellan, Grace Aneiza Ali, and Natalie Willis Whylly speak in conversation with one another on the American South as a migratory space, cultural remittances, and allowing for sentimentality in one’s work.
Whitney Washington reviews the history and practice of ceremonial costuming in New African Masquerades: Artistic Innovations and Collaborations at the Frist Art Museum, Nashville.
Margaret Jane Joffrion reviews the visual games of telephone found in Sterling Allen: TWEEN at Neue Welt, Nashville.
Joe Nolan reviews the homage to local print newspaper industries in Jeremiah Ariaz’s The Fourth Estate at Zeitgeist Gallery, Nashville.
