Last year, Zona MACO brought in over 62,000 visitors compared to ABMB’s 81,000. Although they’re similar on paper, MACO is a smaller fair in a much larger city—which is really what makes this week feel different.
Whether guests were lions, bears, flying monkeys, or straight-up divas in black and white, this event felt exceptional without being stuffy, lavish but not vulgar.
Field workers, sharecroppers, mothers, grandmothers (and occasionally fathers too) share space in her oeuvre with abolitionists and civil rights icons, everyone with dirt under their fingernails, everyone in all of their ordinary glory.
@jerrygogosian: "You can still be an artist and find a way to support yourself without academia, grants, or gallery sales, and frankly, the bigger “world” needs the influence of artistic thinkers the most."
As the largest global displacement crisis since World War II continues to unfold, two recently opened installations in Washington, DC museums offer provocative, distinct ways of thinking about migration and ...
The artist talks about the impact climate change has had during her lifetime, what it was like to be one of the few mothers at MICA in the 1980s, and her beliefs about an artist’s role in educating the public.
Brown’s installation and photography work, which asks her audience “to confront race and identity in modern terms,” challenges some viewers to recognize microaggressions they may not have previously considered.