Despite curatorial missteps, 2018’s SITE Santa Fe contributes to an ongoing and timely conversation in the Americas about identity, displacement, and colonialism.
The late civil rights activist and Black arts patron Peggy Cooper Cafritz has bestowed the “largest gift ever made of contemporary art by artists of African descent” to the Studio Museum in Harlem and the Duke Ellington School of the Arts.
The exhibition is curated by Hans Ulrich Obrist, Gabriela Rangel, and Asad Raza. On view through January 12.
In a photoshoot in front of the Egyptian pyramids, Melania Trump reminds us that fashion is political.
Rapidly rising rents led to the shuttering of the former MOCCA, pushing curator David Liss to find a new building for an expanded mission.
Liz Collins’ new solo show at LMAK Gallery is full of dynamic dualities: works both hard and soft, chaotic and orderly, three-dimensional and flat.
Skeptics have offered their own theories about the controversy, some denying it was even shredded at all.
Ongoing protests in Nepal, India, and beyond are demanding the release of photojournalist Shahidul Alam, who was arrested and jailed in August for critiquing the Bangladeshi government.
Last week’s episode of HBO’s The Deuce included the artist as an unnamed and unimpressed critic of an exhibition, which actually featured her own photos.
Oscar Wilde’s oft-misunderstood, rarely-performed tragedy about the beheading of St. John the Baptist gets new life at the Irondale Center in Brooklyn.
Hot Spots: Radioactivity and the Landscape at UB Art Galleries in Buffalo examines the nuclear past and future of the United States.
The Women’s Mobile Museum, a residency created by photographer Zanele Muholi, mentors Philadelphia-based women in photography arts.