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.
Samantha Oleschuk reviews Andréa Keys Connell’s solo exhibition at Artspace in Raleigh, NC, one that gestures to the multiplicity of maternal experience.
Carolinas Editor Robert Alan Grand looks at the life, career, and deeply spiritual work of David LaChapelle on the occasion of his survey exhibition Dear Sonja at the North Carolina Museum of Art, Winston-Salem.
Courtney Napier profiles Durham artist Maya Freelon, who highlights Black family stories, resilience, and the colors and textures of her African American heritage, drawing viewers into the vast Black imagination.
Artist, curator, and writer Paul Bright visits the Greensboro studio of Mariam Aziza Stephan, a painter using abstract landscapes to explore themes of loss.
In this special contribution, Asheville-based artist Hannah Cole reflects on the destruction of her studio by Hurricane Helene, the loss of most of her life’s work, and how she’s navigating the changes to her practice through describing one surviving piece.
For Burnaway’s CRUSH theme series, Isabella Marie Garcia reflects on the land, people, and ethos of School of the Alternative in Black Mountain, North Carolina.
Colony Little reviews how Processing Systems: Numbers by Sherrill Roland, the artist’s latest exhibition, offers a unique take on portraiture and compels viewers to crack the code at the Nasher Museum of Art at Duke University, Durham.
Robert Alan Grand, Editor at Large for the Carolinas, reviews Carly Owens Weiss’s debut solo show in her hometown at Tracey Morgan Gallery, Asheville.
