By further playing up these perspectives through the massive scale of the photographs, Graham leaves a viewer feeling uncomfortable about accepting these imposing yet generic visualizations of economic standing.
Steven and William Ladd take on hallmarks of their Saint Louis childhood on view in their home town.
In these projects Syjuco harnesses technologies of distribution and reproduction—the web, photography, and 3D scanning and printing—to create objects that reveal the tangled history of colonization and cultural hybridization.
On the outskirts of Coatepec—a small, foggy town, located in the forests of Veracruz and known for its coffee production—lies a former hacienda in the village of La Orduña. Built in the 16th century, this magnificent building currently fosters one of Mexico’s most interesting community printmaking centers, La Ceiba Gráfica, which was established in 2005. To commemorate the organization’s first decade, the Museo Nacional de[…..]
Framed against a starlit sky, two female figures with feathered hair and large, limpid eyes sit astride blue and purple kangaroos. Their lush, naked bodies are stark white against a vibrant canvas of marks, lines, and dots. They stare out of pictorial space into an unknown distance, with their detached gazes separated from the viewer’s own perusal of them. Disengaged from us, their distance forms[…..]
The humorous pathos in the work is readily apparent, from the rabbits’ curiosity exposing them to deadly exhaust to a car dying and ascending to heaven.
The Spelman College Museum of Fine Art’s current exhibition of Howardena Pindell’s work marks an important moment in the journey of an artist and an institution. The site of Pindell’s first major exhibition in 1972, the Spelman Museum in those years was not the sprawling 4,500-square-foot institution that it is now, and Pindell had not been established as the great artist, gallery director, curator, educator,[…..]
