Faustine’s depiction of household shared by three generations of Black women presents matriarchy as a source of power.
Starting in July, Socrates Sculpture Park will unveil works by Nona Faustine, Jeffrey Gibson, and more, injecting fresh energy into current debates surrounding public monuments in the US.
To assert one’s inner life in a time of reactionary politics is a radical act.
Slavery in the Hands of Harvard is a small but remarkably effective look at the historical ties and intersections between the school and the varied institutions of slavery.
With over 125 pieces on view, Half the Picture could have been refined, showing fewer works without compromising its curatorial punch.
A group show at Westbeth Gallery examines how identities are formed, transmuted, distorted, and displayed in the social sphere.
Wendy Vogel’s curated section at Volta NY reminds us that we carry our identities with us always — even inside the artificial environment of an art fair.
What is a nation, and who gets to belong?
I Can’t Breathe, now on view at the Art Gallery at the College of Staten Island, is a dissonant show.
Recently the artist Nona Faustine kicked up some ruckus with her White Shoes photography series, which consists of images of the artist posing nude at former sites of slave trading in New York City.
What kind of painting do you make in the face of the killing of an unarmed civilian by a police officer? What type of drawing sums up the pain of more than a century of institutional racism?