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.
Robert Alan Grand, Carolinas Editor-at-Large, interviews Dakota Brown (ECBI) and Evan Mathis from the Museum of the Cherokee People about the latest exhibition and the institution’s recent transformation.
Courtney Napier reviews the importance of constitution and truth to American life found in By dawn’s early light at The Nasher Museum of Art at Duke University, Durham.
Susanna Klingenberg visits the studio of Raleigh-based artist Patrizia Ferreira to discuss her hand-stitched “fragile, collapsing creations” that speak to the human experience.
Samantha Oleschuk visits Kelsey Merreck Wagner’s studio in western North Carolina to discuss her weavings, often made from discarded materials, and how the artist sometimes comically becomes “an icon of trash collection.”
Shanley Poole profiles the D.O.S.E. Collective, providing supportive and experimental opportunities for artists in Winston-Salem, North Carolina in our first CRUSH feature.
