In this exhibit of artists of Guyanese heritage, almost forty works of photography, painting, welded steel, works on paper, and sculpture provided the foundation for expression that covered a continuum from abstraction to political subtext.
While his father’s side of the family inspired a progressive path for Shaw, his mother was aghast at his choice—at age 26—to travel to New York City to study with Stuart Davis.
Prominently featured in Fatal Promises is actress and activist Emma Thompson. In addition to making powerful public service announcements, Thompson is the co-curator (with Elena, a trafficking survivor), of the interactive art installation Journey. The work puts the viewer directly into the experience of a sexually trafficked woman.
Art movements, like their political siblings, are messy. People don’t agree, groups splinter, and history is up for grabs.
The gathering was billed as “The New York Art World Votes.” My e-vite outlined a forum on why New York artists, curators, critics and dealers believed that Barack Obama was the best choice for the Democratic nomination. Lucy Mitchell-Innes, who told me she had been introduced to the Obama message through her 20-year-old daughter, hosted […]
The co-opting of “minority cultures” and “outsider” groups is an entrenched element of the American pop culture machine.
There is an established art machine that isn’t going to change. But there is plenty of room for artists, operating as individuals or in groups, to strive to make a difference.
The symposium, “The Feminist Future: Theory and Practice in the Visual Arts,” January 26 – 27, proclaimed a new era while dealing with many of the concerns debated among women in other fields. How do you engage different generations in dialogue? Is the term “feminist” obsolete? Amid advances, why do so many feel overlooked?