Artists Dahlia Elsayed and Saya Woolfalk are the first to be included in Art at Amtrak, a rotating series of site-specific installations in the subterranean Midtown station.
The Sugar Hill Children’s Museum of Art and Storytelling, which opened this past weekend in Harlem, says its target audience is kids between ages three and eight, but art lovers of any age will likely find it worth a visit.
SEATTLE — The Seattle Art Museum (SAM) attempts to confront the nuanced subtext of its vast collection of African masks in the ambitious and delightful exhibition Disguise: Masks and Global African Art.
‘Tis the season of reduced hours and low-stakes group shows at most Manhattan galleries, but two spaces in Chelsea are bucking the trend with summer exhibitions of large-scale murals.
Between the proliferation of galleries in Bushwick and, to a lesser extent, Greenpoint, the small cadre of Dumbo galleries sticking it out, longtime heavyweights including the Brooklyn Museum and BRIC mounting ambitious shows, and Creative Time parachuting Kara Walker’s sugar sphinx into the Domino Sugar Factory, it’s been an exceptionally strong year for art in Brooklyn.
Artist Saya Woolfalk has created a little utopian hive of serenity in the large front gallery of the Smack Mellon in Dumbo, Brooklyn.
This Friday’s inaugural Lost Lectures event in New York will feature not only an impressive lineup of performers and speakers, but a video program that will play throughout the evening on a large screen.
Artist and curator SOL ‘SAX deconstructs the mask as an agent of social change in this tight and pithy show at IMC Lab + Gallery. Masks and costumes, an ageless, transcultural phenomena originate as play in early childhood and continue as ritual all the way up to, and beyond, death.
Saya Woolfalk’s solo exhibition The Empathics, currently on view at the Montclair Art Museum in Montclair, New Jersey, blends the fantastical with the earthly, the factual with the fictitious, and the anthropological with shades of folkloric spirituality. I spoke recently with Woolfalk about the project, as well as the artist’s views on cultural awareness, artmarket politics and the indisputable magic found in the collaborative making of objects.