Each portrait in Lovell’s current exhibition is a lens through which to consider the complex humanity of Black subjectivity in American history.
“At the root of these works is the issue of poetics — painterly and textual for Jablon, dynamic, multicolor geometry for Odita.”
Fifty years ago, the historic Sapphire Show modeled a Black feminist ethics of uplifting one another when others fail to do so.
In Tranquility of Communion, soul-stirring photographs blend Yoruba cosmologies, queer desire, and Baroque theatricality.
Lithe yet sturdy, Hassinger’s sheer organic forms belie their industrial materials.
Brighter Days is bound to transform what we imagine possible with monuments.
A forceful rejection of neutrality, the Guggenheim exhibition unearths the deeply biased natures of media and government systems.
O’Grady’s rebellious spirit has roused the mainstream art world for close to 50 years, and her latest exhibition at the Brooklyn Museum is no exception.
The Getty volume is replete with vital lessons on studying and historicizing imperial ephemera.
There’s a certain irony to the fact that Thompson, an artist who was so in-tune with the patterns of nature and the universe, posed such a fundamental challenge to mainstream art histories.
Dwelling somewhere between abstraction and figuration, Hodges’s impressionistic paintings enact a critique of rugged individualism.
Viewing Parks’s photographs in 2021 offers stark, graceful reminders of the ongoing fight for civil rights.