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.
Dial World offers an exciting, if selective, opportunity to gauge the artist’s formal impact — one long overdue.
Organized by La Tanya S. Autry, scholars, artists, and museum professionals including Christina Sharpe, Key Jo Lee, and William C. Anderson gathered to discuss the limits and possibilities of art to address anti-Blackness.
Uniting the personal and the political, Rope/Fire/Water positions Pindell’s creative process as entry points towards learning and healing, for both herself and others.
The first book to offer a comprehensive overview of O’Grady’s writings, Writing in Space 1973 — 2019 affirms both the range and reach of the artist’s impact upon an art world that has only belatedly recognized her.
With Hybrid Spirit, Adejoke Tugbiyele proposes a visual language that explores the intimate connections between queerness, Indigenous African spirituality, and feminism.
More than merely a grand survey of art from the region, Sahel: Art and Empires on the Shores of the Sahara mobilizes discussions around migration and contemporary cultural stewardship.
Trafficking in fragments of beings, machines, and ideas, Julia Phillips rejects the immediate gratification of simple forms and answers.