Armstrong’s layered portraits prompt a consideration of race that is not tethered to skin shades.
“There’s a lot here to unpack if you’re willing to do the work,” says Roberts.
In darling divined, Brackens teases out the symbolism, allegory, and parable long associated with global cosmologies of tapestry weaving.
The work of 12 recent graduates is featured in _____: Revisited, now on view at UT Austin’s Visual Arts Center through November 20, 2020.
As Juneteenth approaches, I’ve been given reason to consider a confluence of events and ideas: my family’s life-long process of becoming Black and having to police my sons’ consumption of a certain kind of blackface.
With the teaching galleries at the Blanton Museum now being closed, as a museum educator there I can’t but help ponder how an art experience of close looking with our eyes, our bodies, and our breath might translate in our post-pandemic future.
Once the official sculptor in the court of the last Habsburg king, Luisa Roldán is easily the most famous sculptor you’ve never heard of.
Amauta affirmed the rights and political demands of Latin America’s indigenous groups and recognized their cultures as vital and authentic alternatives to Hispanicized, colonial narratives.
Betelhem Makonnen and Stephanie Concepcion Ramirez trace the influence of neo-colonialism on immigrants from the Global South, merging their personal journeys into a collective experience.
In unifying contemporary tropical realities with histories of colonization, Minaya demonstrates how imperialist attitudes survive in the discourse and commodification culture surrounding tropical tourism.
One of the most evincing themes in Mechanisms of Affection is how easy it is for computers, digital spaces, and technology writ large to be anthropomorphized.
Lily Cox-Richard questions — and successfully subverts — a long-held association between the aesthetic qualities of classical sculptures with physical whiteness.