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.
In his exhibition Reunion, Beasley’s sculptures express reverence for his family’s annual gatherings in Virginia — canceled this year due to the pandemic, like so much else.
Foregrounding narratives of oceanic migration, Ghebreyesus’s paintings radiate power and serenity in vibrant shades of blue.
I’m here to entertain you, but only during my shift flirts with beauty, ecology, and the desire to be seen, without capitulating to the pull of exoticization.
German’s commitment to dynamic and sometimes riotous formal strategies expresses an amalgamation of Black femme iconography, including shrines to Serena and Venus Williams with butterflies.
At Hales New York, Patterson’s collages meditate on the entropy and delicate elegance of our natural and built environments.