Carefully orchestrated yet unpredictable, the project has no predetermined solution, only possible actions.

Today from our archives, we bring you Lia Wilson’s review of a recent exhibition at the Brooklyn Museum. Wilson explains the importance of this exhibition: “Witness does the essential and painful work of revealing how an inadequate visual cultural record can come to mirror inadequate social reform. There can be no greater demonstration of the need for a more diverse and inclusive art-historical canon and[…..]

Sitting just inside the Great Hall and squeezed between two major retrospective exhibitions of wedding dresses and fashion photographs at the Victoria & Albert in London sits Disobedient Objects, a small but powerful show examining the materials, methods, and inventions of political dissent across the world since the late 1970s. Rich and diverse in its choice of objects, the one-room gallery places a strong emphasis[…..]

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Christina Nafziger reviews All That Glitters Is Not Gold: Platinum Photography from the Center for Creative Photography at the Phoenix Art Museum in Phoenix, Arizona. In a world[…..]

Today from our partners at Art Practical, we bring you an excerpt from author Maria Porges’ essay on the di Rosa in Napa, California. Porges explains: “Other museums may bear the name of a founder, but as far as I know, there really is no place quite like this one—historic home museum, contemporary white-walled space, and sculpture park rolled into one.” This article was originally published on December 4, 2014.[…..]

The waning glow of the warm desert sun hangs in the air around a lone female figure. She sits nestled atop a rock formation amid yellow grasses and low, twisted trees. As she gazes lovingly toward the fading sun with trim arms folded over her legs, a sense of hard-earned and well-deserved calm settles in, as though this communication with the landscape has rejuvenated her[…..]

“Other Faces” assumes the feel of reportage, as if we are witnessing certain events from the struggle against colonialism in South Africa’s turbulent past.