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Irvin Morazan is a multidisciplinary artist born in El Salvador who moved to New York in the 1980s as part of the Salvadoran civil war diaspora. Morazan utilizes performance, sculpture and video to explore fictional and autobiographical rituals that are sparked by current events, migration, ancient medicine and indigenous cultures. He has exhibited and performed extensively across the world at venues including the Metropolitan Museum of Art, Performa, the MARTE Museum (El Salvador), the Central American Biennial X (Costa Rica) and many others. Morazan has been recognized by numerous awards, grants and fellowships.
Massa Lemu is a visual artist and writer whose multi-disciplinary artistic practice addresses the contradictions of migration within globalization and the effects of an increasingly immaterialized, flexible and mobile capitalism on the post-colonial subject. Lemu’s exhibitions have spanned the globe from the United States to his native Malawi, and his scholarly writing has been published in numerous journals, including the Stedelijk Studies Journal, E-Flux, Center for Contemporary Art Lagos and Contemporaryand (C&).
Morazan and Lemu join VCUarts Sculpture + Extended Media faculty members Corin Hewitt, Michael Jones McKean, Kendall Buster, Carlton Newton and Matt King.
VCUarts Sculpture has been the top-ranked Sculpture M.F.A. program for over a decade and attracts students from around the globe who are drawn by its state-of-the-art facilities, generous financial support, reputation of its celebrated faculty, and the ever-increasing visibility of its alumni.
Application deadline is January 15th. arts.vcu.edu/sculpture
This week, LA’s new Academy Museum, the intersections of anti-Blackness and anti-fatness, a largely unknown 19th century Black theater in NYC, sign language interpreters, and more.
Titian’s paintings are masterpieces, with all the complications of the term.
Through “Historic Site,” an 8-foot-tall plaque and Historic Sight, a year-long rotating exhibition in Pittsburgh, the Black Cube Fellows investigate how history is constructed, remembered, and retold.
Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Jenkins’s new short film, the centerpiece of a MoMI exhibit on The Underground Railroad, uses his signature techniques to confront the viewer.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.