Good Luck Jules by Jules Jackson at COOP Gallery, Nashville
Margaret Jane Joffrion reviews the autobiographical nature and recurring motif of the sac found throughout the work of Jules Jackson in Good Luck Jules at COOP Gallery, Nashville.
Margaret Jane Joffrion reviews the autobiographical nature and recurring motif of the sac found throughout the work of Jules Jackson in Good Luck Jules at COOP Gallery, Nashville.
Sophia Mason reviews the grid-like explorations of plants and descriptive cultural motifs by Erin Harmon and Kong Wee Pang in The Real & Imagined at Sheet Cake Gallery, Memphis.
Jennifer Dudley speaks with photographer Kristine Potter on mediums, a green curtain, and the variety within Kristine Potter: Dark Waters , on view at The Momentary in Bentonville, AK until October 11.
Maria Owen reviews the playful invitations found in Kevin Ford’s Ids of March at Tops Gallery, Memphis.
Lina Alam profiles the spiritual allegories and the labor of weaving works created by Chattanooga-based artist Tabitha Arnold.
Harrison Wayne reviews the entangled sculptures and taxidermic specimens found in As for me, I’m just passing through this planet at Bad Water, Knoxville.
Margaret Jane Joffrion reviews the feeling montages and logic of colors found in Dance in the waterfall at Red Arrow, Nashville.
Daniel Fuller reviews the intensive documentation of pain and survival found in A Brand New End: Survival and Its Pictures by Carmen Winant at the Knoxville Museum of Art, Knoxville.
Portraying everything from the pop culture iconography and generational revere of Elvis via young and old tribute artists, along with documenting his Chinese family and their domestic existence in the American South, Tommy Kha’s photography analyzes the multifaceted ways one can be seen in the kick-off Art21 x Burnaway feature of 2024.