BA contributor Orion Wertz reviews “RAUCOUS” at Lyndon House Arts Center in Athens, Georgia.
Reviews
BA contributor Ade J. Omotosho considers Afro-Brazilian artist Paulo Nazareth’s material and historical excavations in his solo exhibition “Melee” in Miami.
BA contributor C Klockner sees anxiety and ambivalence beneath the candy-colored surfaces of Andrew Woolbright’s hybrid creations in his solo exhibition “Expresso Your Depresso.”
BA contributor Madeleine Seidel considers the commodification of self-taught art and paintings by Mississippi painter Mary T. Smith on view in New York.
BA contributor TK Smith finds beautiful images collapsing over a vague conceptual foundation in Alex Christopher Williams’s solo exhibition at the Gallery | WISH.
Joe Nolan reviews “Texturextra,” the last in a series of two-person exhibitions presented across Tennessee by Locate Arts ahead of the inaugural Tennessee Triennial in 2021.
In the first comprehensive survey of his works, Louisiana-born artist Keith Sonnier is celebrated as a pioneer of postminimalist neon sculpture at the New Orleans Museum of Art.
Artists' Books, Book Review
Doing is Living: Ruth Asawa and Black Mountain College
May 23, 2019 0
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Joe Nolan considers sculptor Ruth Asawa’s years at Black Mountain College in his review of the catalogue accompanying her 2018 exhibition “Life’s Work” at the Pulitzer Arts Foundation.
Art Review, Feature
A Photographic Inheritance: On Terence Price’s “Take Your Time”
May 17, 2019 0
841
Ade J. Omotosho responds to a video by artist Terence Price II with a meditation on photography and time, family archives, and the voice of the matriarch.
Art Review, Feature, In Translation
Testimonio de la Realidad: Beatriz González at PAMM, Miami
May 15, 2019 0
506
In her retrospective in Miami, the Colombian artist Beatriz González bears witness to the harsh realities of corruption and civil warfare with a critical yet playful approach.
In “Cantos” at MFA St. Petersburg, the late Florida artist Theo Wujcik enters Dante’s “Inferno” by way of Tampa’s post-industrial punk landscape in paintings from the 1980s and 90s.
In his first solo exhibition in the United States, South African artist Wim Botha ambivalently embraces and destroys Western art historical iconography.
In a group exhibition in New Orleans, eight women artists confront and reconfigure the largely white, male histories of Modernism.
Two scholars of Black culture offer close readings of paintings by Amy Sherald currently on view in her solo exhibition at the Spelman College Museum of Fine Art.
Artists respond to poems by Nashville-based artist Patrick DeGuira in a group exhibition advancing ecocentric ways of seeing and thinking about nature.
Noah Rawlings reviews an exhibition at Marcia Wood Gallery in Atlanta that brings together a group of paintings and drawings about the “bed.”
C. Klockner reviews Women’s History Museum’s Biennial Poupées Gonflabes at Springsteen Gallery in Baltimore.
Travis Diehl’s reviews Athens-based painter Ridley Howard’s recent exhibition at Night Gallery featuring a new body of work.
