Daniel Fuller considers the elaborately crafted, customized caskets—known as abeduu adekai, or “proverb boxes”—created by Ghanaian artist Paa Joe.
Reviews
Artist Joel Dean reviews a solo exhibition by Brandon Ndife, considering what it means to view art during global catastrophe.
Joe Nolan reviews a group exhibition in Nashville that offers a range of contemporary artists’ interpretations of Aesop’s fables.
Jennifer R. Bernstein considers an exhibition in Beauford Delaney’s hometown of Knoxville focused on the artist’s relationship with James Baldwin.
Margaret Jane Joffrion visits a bygone internet era through an exhibition of code-based artworks at Unrequited Leisure, Nashville.
Yves Jeffcoat reviews Masud Olufani’s solo exhibition “Translocation & Transfiguration” at Hammonds House Museum in Atlanta.
Anna Nelson Daniel reviews the Georgia edition of an exhibition of works on paper by women artists who are being considered to represent the state in a national survey.
Artist Caleb Jamel Brown reviews two exhibitions at the Zuckerman Museum of Art exploring Black artists’ revolutionary approaches to abstraction.
Donna Mintz reviews an exhibition highlighting the contributions and legacies of the women who studied and taught at Black Mountain College, including Ruth Asawa, Anni Albers, and lesser-known artists.
Kate Averett navigates the fractured landscapes of social media and digital life in an exhibition presented by Tiger Strikes Asteroid Greenville.
Celestia Morgan draws attention to the ongoing impact of racially discriminatory housing practices such as redlining in an exhibition at the Birmingham Museum of Art.
In an exhibition at Vanderbilt Fine Arts Gallery, artists reimagine a lost “book of paintings” created by José Antonio Aponte, a free Black man in nineteenth-century Cuba.
Adria R. Walker examines the racial dynamics of artistic masquerade in Nick Cave’s Soundsuits on view in Jackson, Mississippi.
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.
