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.
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.
LEXINGTON, Ken. — Nearly 50 plush guns line the white walls of the small gallery Institute 193. They range in size, pattern, and make: there are fluffy 10 mm. pistols; handguns with hot pink cylinders and gold lamé tips; and rifles with silk-covered barrels that droop, nearly grazing the floor.
LEXINGTON, Ky. — Universities across the country are having productive conversations about race and representation, but what happens when campus public art is caught in the crossfire between a desire to preserve history and cultural sensitivity?
LOUISVILLE, Ky. — Since moving here with my family a couple of years ago, The Land of Tomorrow (LOT) has been on my mind. It is a provocative production and exhibition space established by Drura Parish and Dmitry “Dima” Strakovsky, first in Lexington (2009) and then in Louisville (2010), Kentucky.