For the next three years, the estimable Underground Museum, co-founded by husband and wife Noah and Karon Davis, will bring artworks from Museum of Contemporary Art’s (MOCA) permanent collection to its unassuming storefront in the largely black and Latino working-class neighborhoods of West Adams and Crenshaw. Reciprocally, MOCA presents Noah Davis’ Imitation of Wealth, which was first exhibited at the Underground Museum, in its new[…..]
Our intrepid columnist is on the road this week, so today we bring you a popular Q&A from our archive. It’s good to note that support for parent–artists is increasing: The Bemis Center has a six-week residency with on-site child care in 2016; Kala Art Institute offers ten Parent Artist Residency Awards with a stipend of $1,000 each; and The Present Group is currently accepting nominations for[…..]
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, Marie Martraire reviews Talk to Me: Samuel Levi Jones at ProArts in Oakland. In front of Oakland City Hall, thirty-three large square collages are hung on[…..]
Today from our friends at MN Original, we bring you an inspiring video on Greta McLain and her work with murals and communities. The artist says, “The mural is not making the change. The mural is making the connections and the relationships, and standing as a suggestion of where this neighborhood or community is going.” The video was originally published on February 14, 2014.
“I am an artist of America,” declared Lonnie Holley during a talk for the opening of his exhibition at the Halsey Institute of Contemporary Art in Charleston, South Carolina. This self-identification was Holley’s response to being labeled a folk artist throughout his career. While the visibility of his work may have suffered due to this label—his most recent solo museum show was in 1994—Holley proves[…..]
“Writing is painful, but having written is ecstatic, and the ecstasy induces amnesia, so you’re willing to do it all over again. Like falling in love.”
Thomas Hirschhorn’s show at the South London Gallery is a precarious, postapocalyptic mess. Collapsing floors are propped up with broken posts, and adjoining walls are held together by packing tape, which creates a foreboding sense that the installation could come down on the viewers at any moment. Yet the actual threat of fabricated precariousness is quite different than the threat posed to the viewer who[…..]
