This photo essay tells the story of an artist’s view of her experience at a new and important biennale.
In Jenny Morgan’s exhibition at the Museum of Contemporary Art Denver, death lurks in her compositions.
An exhibit at the Denver Art Museum conceives of the American West according to art history, but also through the lens of our current cultural climate.
DENVER — The story goes like this. It is 1950. Virginia born painter Judith Godwin learns that dancer and choreographer Martha Graham will be in the region and all Godwin can think about is her desire for Graham to perform in Staunton at the all women’s school she attended, Mary Baldwin College.
What may seem erratic, disparate, schizophrenic, and impatient might instead be read as a thoughtful, methodical, and relentless reconstruction of, as Hassan puts it, his process of defining the sum total of knowledge.
LOUISVILLE, Kentucky — The Kentucky Museum of Art and Craft in Louisville has spent the last couple of years staking out a place in discussions occurring in contemporary art circles about the line dividing art and craft. The recent exhibition PRESS: Artist and Machine was a romantic show focused on illuminating the relationship between 19th-century printing-press technology and 20th- and 21st-century art production.
LOUISVILLE — Music Unwound remains a provocative commentary on the history of music, politics, and performance—specifically the role of human capital in the creation and consumption of culture. Given this layered content, it seemed very contentious to present it here in Louisville.
LOUISVILLE, Ky. — Since moving here with my family a couple of years ago, The Land of Tomorrow (LOT) has been on my mind. It is a provocative production and exhibition space established by Drura Parish and Dmitry “Dima” Strakovsky, first in Lexington (2009) and then in Louisville (2010), Kentucky.
LOUISVILLE, Kentucky — Long before Reverend Al Shands bought his first contemporary artwork, he founded an Episcopal church that met weekly at a Washington, D.C. seafood restaurant. “I find the wholesome, institutional nature of the church rather boring. But I do not find religion boring. To pray, I do not find boring,” he said. For six years during the 1960s, Shands was able to maintain this unusual congregation. “The only place we could afford to start meeting was in the restaurant. We used the mixing bowl as the baptismal font, the wine came from the bar, our bread was the rolls they served and our altar was the table.” For Shands, “The religious encounter is like a dinner party.”