Lawson’s images, and the ways that she has discussed her process, seem to be actively reproducing the kind of big-dick energy power dynamics of White male artists who also claim mastery over their subject matter.
Portals to the otherworldly, Lawson’s grand-scale photographs reveal the divine in the secular.
The story of this essay, its rejection by the artist and her gallery, and by Aperture and Frieze raise critical questions about the relationship between living artists and critical mechanisms for evaluating their work.
Lawson confronts viewers with multifaceted visions of black identity, as embodied by strangers and neighbors alike, with whom she has established an intense rapport.
Through its feminist contributions, the exhibition offers a window onto some of our most pressing cultural concerns, as well as our shortcomings.
See highlights from the 2017 Whitney Biennial, which opens to the public later this week.
Other than their use of a camera, these photographers appear to have little in common, which I think is a good thing.
The photographs and videos in Black Cowboy at the Studio Museum show images of nonwhite cowboys, bringing Americana in line with historical accuracy.
In addition to the centuries of trauma that artists are exploring and attempting to reconcile with contemporary reality, there is also an underlying solidarity that weaves itself into the fabric of Non-fiction at the Underground Museum.
CHICAGO — Deana Lawson’s photographs thwart easy notions of symmetry.
We love NYC and LA and all the art they have to offer, but we know they’re only two towns of many across the country mounting great exhibitions large and small.
Every five years MoMA and MoMA PS1 team up to take the pulse of New York City’s contemporary art scene, filling the latter institution with works made recently by artists based in the metropolitan area.