In Vaughn’s hands, “success” takes shape as a parade of etiquette, competition, and power.
When experienced as a portrait of the artist’s psyche alone, Upstairs at Steve’s is a piercing representation of individual grief.
In 2020, Monument Lab: Creative Speculations for Philadelphia is not merely a living handbook, but an uncanny prophecy.
Banal Presents is the third and final chapter in Colored People Time, departing from the previous shows’ speculative representations to examine the ways that colonialism and slavery have permeated the United States’ past, present, and future.
In his brightly-colored acrylic works, Haitian-born, Philadelphia-based artist Claes Gabriel addresses the Haitian Revolution, global migration, and police brutality in the US.
The Global Guides program at the Penn Museum hires recent refugees from the Middle East to give personalized tours. The leader of my tour was Moumena Saradar, a refugee from Syria who has lived in Philadelphia for two years.
Cobbled together from materials including cowrie shells, Yoruba masks, horns, Japanese mosquito nets, and crocodile heads, Rina Banerjee’s fantastical sculptures present a utopian vision of globalism.
I wish Philadelphia Contemporary had better followed through on the promise of representing everyday people within the city with its Festival for the People.
Jean Shin: Collections is a great introduction to the artist for those who do not know her work, but encounters the pitfalls of recontextualizing public art within museum settings.
An exhibition of historic and futuristic dolls that points to the power of creating new mythologies.
Ultimately, Suki Seokyeong Kang’s use of the modernist grid is distinctly Korean.
The photographer uses a heat-sensing camera to turn a critical eye towards governments’ insufficient responses to a humanitarian crisis.