Robert Alan Grand reviews Jasmine Best’s South Carolina exhibition tackling the whitewashing of Black property, history, culture, and influence from the American South at Tiger Strikes Asteroid, Greenville.
In our debut feature of the new Annotations column, Ryan Christopher Clarke details the history of annotation in Black communities, coded language in vinyl engravings, and underground resistance found through techno and fugitive strategies of communication.
Alyssa Velazquez visits the Conway-based studio of Jeremy R. Brooks to talk about elastic clay, kink, and the sensuality behind crocheting and ceramics.
Simone Cambridge reviews “in the wake of a haunting,” a collaborative exhibition featuring the work of La Vaughn Belle and Tamika Galanis at TERN Gallery, Nassau, The Bahamas.
Emily Shiffer reviews Elisa Harkins’ glimmering exhibition Teach Me A Song at the Halsey Institute of Contemporary Art, Charleston.
In April’s Art21 x Burnaway feature, we enter and explore the resurrection, rebirth, and regenerative quality of Jacolby Satterwhite’s virtual worlds.
Thalia Butts dives into the desaturated captured and found images found in Darrel Ellis: Regeneration at the Columbia Museum of Art, Columbia.
In March’s Art21 x Burnaway feature, we dive into the black and white video works of Mary Reid Kelley and her historical reimaginings of womanhood.
Writer Maria Owen meets South Carolina-born painter, Caroline Absher, in her Williamsburg studio to speak with her on the power of a cosmic wink.
