Adria R. Walker examines the racial dynamics of artistic masquerade in Nick Cave’s Soundsuits on view in Jackson, Mississippi.
Reviews
Nina N. Yeboah reviews the newly published catalog accompanying the 2018 exhibition “Deborah Roberts: The Evolution of Mimi” at Spelman in Atlanta.
Burnaway editor Logan Lockner unpacks the conceptual and material excavations in Noel W. Anderson’s solo exhibition “Blak Origin Moment.”
Kristina Kay Robinson explores the “cinematic third space” developed by Ghanaian-American filmmaker Akosua Adoma Owusu in works on view in New Orleans.
In his seventh exhibition at Marcia Wood Gallery, Marcus Kenney incorporates new materials such as neon into his assemblage works, achieving mixed results.
Two exhibitions at Tulane’s Newcomb Art Museum draw connections between the adverse effects of environmental racism in Flint, Michigan, and Gordon Plaza in New Orleans.
Maggie Davis examines perception and the interplay between art and science in a solo exhibition by 2019 Atlanta Artadia nominee Bojana Ginn in Augusta.
Daniel Fuller reports on the Midwestern exploits of North Little Rock artist-run space Good Weather, which has presented offsite projects since 2017.
Art Review, Feature
Through A Glass Darkly: Bryan Graf and Christina Price Washington
Oct 31, 2019 0
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Jeremy Bolen unpacks the material and methodical investigations into the history of photography in exhibitions by Bryan Graf and Christina Price Washington.
Noah Rawlings sees the struggle between nature and human industry—and a potential integration of the two—in recent shows at Howard’s and Tif Sigfrids.
Claire E. Dempster charts connections between textiles and time, weaving and mythology in her review of Sonya Yong James’s solo exhibition “Loud Magic” at Whitespace in Atlanta.
An exhibition responding to Jungian theories about symbolism and the unconscious collects artifacts and artworks from across two thousand years of human history in Nashville.
Artist Tina Dunkley employs a visual form of critical fabulation to reconstruct the lives of her ancestors who fled the United States for Trinidad in the early nineteenth century.
Margaret Jane Joffrion considers two exhibitions of paintings in Nashville, revisits a poem by Emily Dickinson, and wonders if bugs can be saints.
Ade J. Omotosho reflects on the history of the Black male nude, tracing the fraught influence of Robert Mapplethorpe on generations of queer photographers.
Maria Britton unpacks the dense, vividly rendered paintings in Jennifer Meanley’s solo exhibition “Everything I Can Fit, in a Dream-Pod” in Chapel Hill.
As glo’s movement artists activate the campus of the High Museum of Art, TK Smith reflects on their potential to disrupt institutional power dynamics.
Contributor Coco Klockner considers echoes across time between residents of the same Richmond house in Corin Hewitt’s exhibition split between his home studio and the ICA.
