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.
There are many in Kentucky who wish to get beyond the Breonna Taylor tragedy, but Amy Sherald’s magnetic portrait of Taylor insists otherwise.
There are artists who paint, and those who use paint.
Peter Williams doesn’t make things easy for the viewer, and why should he?
All MFA students receive a scholarship or assistantship. A private studio space is provided for each student in our new MFA Building.
Art can have a unique place in interpretive history experiences by embodying the history of a place with an impactful visual, and making that visual part of the narrative. But it’s hard to do well without being overly intrusive or just clashing with the surrounding setting. Here are four examples of approaches to historic trails told through art.
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.
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.”