Colorado’s Platteforum shows that residency programs can be bold when it comes to serving artists and communities
Mongolian artist Uuriintuya Dagvasambuu draws upon domestic objects and Buddhist symbolism to show a virtually hyperconnected but physically isolated existence during the COVID-19 pandemic.
Eamon Ore-Giron invites the viewer to consider culture as a collective, living concept that evolves through destabilizing identity.
From an art incubator wedged between a train station and stairwell to a roving space where you can skate and look at art, spaces in Colorado’s capital are engaging new audiences through unusual means.
If Hokusai had focused his subject on swirling tide pools instead of “The Great Wave,” it may have felt something like Taiko Chandler’s “Blue Surge.”
The Silk Road Songbook’s polyvocal strategies to share diasporic experiences are a radical reversal of what expressions of resistance and persistence are expected to look like.
“He asked a lot of questions and cared about what younger generations thought and were experiencing,” said artist Joseph Coniff, a former student of Richert’s.
Ai Weiwei’s childhood recollections are vividly violent.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
The mind works desperately to fill the gaps in these lost stories.
Simphiwe Ndzube masterly weaves Bosch’s iconography into his macabre landscapes that reflect water scarcity.
Cultural institutions are constantly draining their talent pool and dismissing this retention problem as a woman’s issue, when it is a structural failure.