Art critic Seph Rodney considers on his reviews during the last few years and what he may have gotten wrong and why.
With recent monumental commissions, the artists focus on the imagination’s role in accounting for the past.
The Tang Teaching Museum attempts to make itself new through an exhibition that employs a variety of ways to elaborate and convey narratives.
Kara Walker upends the Tate Modern with a massive fountain, renewing the debate about the nature of public monuments in the heart of violent empire.
Can the enduring presence of such monuments among us still have the power to reinforce deep-rooted prejudices, by the very fact that they have simply not gone away?
In Against Our Will, Vivien Green Fryd makes a convincing case for the need to examine artworks through the lens of sexual trauma, a violent reality that unfortunately spans across gender, ethnicity, race, and time.
The creation and interpretation of art remains an anchor and a refuge, a sanctuary for vanishing ideals.
Walker’s installation “Virginia’s Lynch Mob” evokes a latter-day Saturnalia, turning the world upside-down.
The oldest object on view documents an ugly reality, showing on brown paperboard one of the earliest known images of a slave in the US, accompanied by a bill of sale.
The Hammer Museum has displayed the three video installations together for the first time.
Walker’s drawn and collaged images depicting haunting scenes of abuse and violence refuse to let us look away from America’s bloody past and present.
Who is made whole by Walker’s decontextualized images of violence correlated with race, gender, sex, and with chattel slavery and the social practices devolving from that historical circumstance?