“The Red Stage has been a beautiful site for holding our shared grief and finding joy together through it all,” explains co-organizer Diya Vij.
A prophetic document of our time, the New Museum exhibition calls attention to the weight of Black death not because it is new or salacious but because it remains urgent.
“In the midst of a contagion that threatens our way of life, isolates us remorselessly from family and friends, and breeds fear and paranoia, I find these pieces grounding.”
The 2019 adaptation of Richard Wright’s classic novel, with production design by Akin McKenzie, feels like a complete aesthetic reimagining of Wright’s 20th-century source material.
This adaptation of Richard Wright’s 1940 novel Native Son is the visual artist’s first feature film.
Two new exhibitions now open at the Institute for Contemporary Art in Richmond, VA.
In his new show at Sean Kelly Gallery, the artist has begun to create a register of contemporary black visual artists.
Blurred Lines: Inside the Art World, showing at the Tribeca Film Festival, is a successful crash course in the forces shaping the art market that fails to go deeper.
The dream embedded in the hymn “I’ll Fly Away” is rest — a cessation of struggle, labor, drudgery.
As news of art fairs and Bjork took the spotlight earlier this month, I lingered on the Museum of Modern Art’s The Forever Now: Contemporary Painting in an Atemporal World, up through early April.
The Forever Now: Contemporary Painting in an Atemporal World, the new exhibition at the Museum of Modern Art, prompted thoughts of Elizabeth Kübler-Ross’s five stages of grief: denial, anger, bargaining, depression and acceptance, though I’m not sure how much acceptance there is in the end.
It’s difficult to create art about white privilege. Though one can easily enough declare that white privilege is bad, distilling all its paradoxes into a poignant artistic image is challenging. And when an artist succeeds, it commands attention.