When it comes to the word “diversity,” what are we really referring to?
Black Is the Color, a 50-minute documentary, offers a survey of African-American art from 1867 to today.
I remember David Zwirner Gallery back in the 1990s, before Chelsea, when the New York art world was much smaller and more manageable.
Each of these exhibitions showed me something I had not seen before.
Marshall recently unveiled a 132-foot-wide, 100-foot-tall mural that pays homage to 20 women who shaped Chicago’s cultural scene.
A Kerry James Marshall work originally donated to a museum’s benefit auction sold at Christie’s for a record-setting price.
Curators have extensively referenced the white, male, Western canon of painting, but mostly ignore the ways in which Marshall’s work fits into and extends black visual culture.
A look back at a critic’s reviews, views, and articles.
This list barely scratches the surface of the city’s artistic offerings this year, from overdue retrospectives to surprising sides of artists we know well.
The retrospective of the work of Kerry James Marshall demonstrates a deep knowledge of blackness and a desire to expand the world of art with it.
Like Ralph Ellison, who did not think of the Invisible Man as a protest novel, Kerry James Marshall is interested in the nuances of invisibility, in how much goes unseen, and the many different ways willful blindness manifests itself.
Across the city, many works by the 55 artists participating in the 2016 Biennale de Montréal deal with the possibilities, limitations, and consequences of spectacle and spectatorship.