When White-dominated arts institutions would not offer them opportunities, Robert L. Douglas and other Louisville Black artists organized together to create their own art communities.
Participants created artworks that will be exhibited at the Speed Art Museum in Louisville, Kentucky.
Billed as a “survey of quilt-based works,” Sanford Biggers: Codeswitch feels less like an overview of one section of the artist’s oeuvre and more like a record of his creative process overall.
The capacity to reside in joy and terror in equal measure gives Sora’s paintings their unsettling power, a brutal acknowledgment that creation coexists with destruction.
The paintings that form the heart of Ceirra Evans: It’s Okay to Go Home offer a more complex and generous response to the stale and sneering stereotypes of Appalachia.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Not all of the scenes Dianna Settles paints are pleasant, but that seems to be the point: for better or worse, we are undeniably yoked in our collective experience of being human.