In creating Blackalachia and living in North Carolina, Sumney encourages creatives who find themselves struggling to define their art on their own terms.
Saar’s irreverent paintings of dolls from her collection celebrate the catharsis she found in play.
“There’s a lot here to unpack if you’re willing to do the work,” says Roberts.
Defender, which launched online this week, tells the stories that get buried in the news.
For Amos, who died in May due to complications related to Alzheimer’s, photographic preservation was integral to her paintings, suggesting its important function as a mnemonic device.
In Flexing: New Realm, Carter combines visual references to European royalty and nobility with contemporary Black aesthetics.
The Nasher’s Reflections programming has pivoted online so participants can continue to have rich conversations about art. The museum created an updated template of virtual engagement to share with other institutions.
Artists reflect on migration, memory, and the cultural bonds that unite the first- and second-generation children of Central American immigrants who have fled civil wars, violence, and natural disasters.
¡Viva Viclas! at CAM Raleigh is a lively and vibrant introduction to lowrider culture that provides a vitally important space for broader conversations about art and inclusion.
The sketchbooks reveal how Saar’s practice has evolved over time, and how time itself is a major thread in her work.
Imagining his first impression of the city he once called home, I suspect Hammons would have said: “You’ve let yourself go.” Conversely, he could have easily said, “I see you haven’t changed.”
The architect, whose design influence is found among major museums specifically dedicated to Black culture in the United States, passed away at the age of 66.