Dyson is part of a growing number of contemporary artists to imbue geometric abstraction with a sociopolitical dimension.
“[T]his strengthens my commitment to black spatial justice,” Dyson said of the prize, awarded annually to artists of African descent.
Though Out of Easy Reach has a unifying theme, it presents a variety of tastes and approaches in a way that feels like ungainly curation which ultimately does not clarify how these women artists now steer the conversation about abstraction.
On Documentary Abstraction, a show at ArtCenter/South Florida, asserts that abstraction — in painting, sculpture, and film — can document the sociopolitical zeitgeist.
Invisible Man, a group show at Martos Gallery curated by Ebony L. Haynes, gathers works by four artists that subtly call attention to embodied experience and the histories embedded in utilitarian objects.
A new gallery is the latest to join a growing cluster of art spaces in the quickly gentrifying neighborhood.
Minimalist abstraction of the 20th century often feels placeless. Tony Smith’s angular, inky sculptures could have crawled out of a dimension void of organic life; Mark Rothko’s repeating black canvases in a Houston chapel reflected the space’s lack of specific religion.
Leading arts and tech nonprofit Eyebeam has announced plans to move into a space in Brooklyn’s Industry City for roughly three years before relocating to an as-yet unbuilt space in downtown Brooklyn. The organization has also announced the recipients of its new two-year 2014/2015 Eyebeam Fellowships.