The capacity to reside in joy and terror in equal measure gives Sora’s paintings their unsettling power, a brutal acknowledgment that creation coexists with destruction.
The paintings that form the heart of Ceirra Evans: It’s Okay to Go Home offer a more complex and generous response to the stale and sneering stereotypes of Appalachia.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Not all of the scenes Dianna Settles paints are pleasant, but that seems to be the point: for better or worse, we are undeniably yoked in our collective experience of being human.
There are many in Kentucky who wish to get beyond the Breonna Taylor tragedy, but Amy Sherald’s magnetic portrait of Taylor insists otherwise.
In 1913, Depp became the first woman to be elected as Superintendent of Barren County School. Her complicated legacy will be honored with a monument next August.
There are artists who paint, and those who use paint.
Peter Williams doesn’t make things easy for the viewer, and why should he?
Meatyard’s use of masks, shadows, abandoned houses, and figures in motion open up a deep and multi-layered place of feeling that we have yet to fully address.
WILLIAMSTOWN, Ky. — What’s 510 feet long, 85 feet wide, 51 feet high, and made of 3.3 million linear feet of wood?
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.”