This show is richly rewarding, due in large part to a range of rarely seen objects and some truly clever juxtapositions.
There is much to consider about depletion and extraction in a low- or no-budget art space within a gentrifying city.
The figures populating the Mother Paintings live among slabs of heavy, humid air, hypersensitized in their responses to claustrophobic and caustic atmospheres.
Some of these records inevitably confront themes that are pertinent to our present circumstances and upheavals, some take the listener to places subterranean or extraterrestrial, and many others pull off an inventive combination of all the above.
Dr. J’s aerial exploits become the associative catalyst for explorations as wide-ranging as pickup-basketball, photography, the slave trade, familial history, and flight of all kinds.
Both women are primarily known for their work in sculpture, and that tactile sensibility easily translates to these textured two-dimensional pieces.
The exhibition is framed as a “gravitational field” of signs and symbols in which our relationship to the production of meaning is precarious by design.
Viewed as movements, these abstracts are maps that retrace Owens’ process, the steps he took to arrive at the finished series.
This artwork skips the fraught emotionality of white people’s coming into consciousness about the constructs of race and the iterations of racism, and instead leads the viewer straight into an intellectual headspace.
A lively and mostly persuasive argument that the Shroud of Turin is not Jesus Christ's funerary cloth, but was instead likely fabricated by an artist in the 1350s, and then slowly embraced by Catholic officials who saw an opportunity for profit.
Polyphemus, on view at Goucher College’s Silber Art Gallery, is an installation that takes its title from Homer’s Odyssey.
The colorful abstract paintings of Linling Lu at Hemphill Fine Arts in Washington, DC seemed at first to be formal abstractions but expanded into spiritual, cultural, and personal visions.