Faustine’s depiction of household shared by three generations of Black women presents matriarchy as a source of power.
Nona Faustine
Posted inArt
As Debates Over Monuments Continue, Artists Erect Their Own at a Sculpture Park in Queens
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.
Posted inArt
Once More Into the Culture Wars
To assert one’s inner life in a time of reactionary politics is a radical act.
Posted inArt
Harvard’s Complicit History with Slavery
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.
Posted inArt
An Attempt to Redefine Feminist Art Has Some Surprises
With over 125 pieces on view, Half the Picture could have been refined, showing fewer works without compromising its curatorial punch.
Posted inArt
Capturing Fragments of Identity
A group show at Westbeth Gallery examines how identities are formed, transmuted, distorted, and displayed in the social sphere.
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A Curated Section Brings Body Politics to Volta NY
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.
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When You Want to Be Part of the Nation, but It Won’t Let You In
What is a nation, and who gets to belong?
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An Exhibition About Black Lives, with a Gendered Focus
I Can’t Breathe, now on view at the Art Gallery at the College of Staten Island, is a dissonant show.
Posted inOpinion
An Artist Poses Nude at Former Slave Sites
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.
Posted inArt
After a Call for Change, Artists Respond
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?