Art reviews and stories
As de Bethune wrote, “In the 1970s, Harvey Milk encouraged queer people to come out wherever they were, to increase awareness not only of the ubiquity of LGBTQ folk but also our incredible diversity and ordinariness. In my own fashion, I’m answering Harvey’s call.”
Graupe-Pillard delivered the cautionary note, “The paintings are a precursor to a devastating scenario if individuals remain uninvolved.”
The talents spotlighted are women who have experienced the impacts of hierarchical systems, othering, and the legacies of colonialism. The takeaways are visual pleasures and food for thought, concurrent with an in-depth examination of these issues.
As we move toward 2020 and a presidential election, what better time to look back at the fight it took for women to gain the right to vote — and how sectors of the...
“Seven Deadly Sins: Wrath — Force of Nature” at Wave Hill in the Bronx brings together twelve artists who have their fingers on the pulse of climate change and extreme weather.
The dialogue went far deeper than a mere discussion of the current landscape of the Bronx art scene. It raised questions, and some hackles, about competing community needs, gentrification, constituencies that are too frequently powerless, and big money.
Adriana Zavala, guest curator, qualified Kahlo’s home as an “extension of her personal cosmology,” saying, “There are still things to learn about Kahlo.”
Weider is preoccupied with an examination of domestic objects. Her visual terrain is repeatedly populated with diaristic contemplations of ordinary furniture: dressers, chairs, tables, beds.
In the book, “Dorothea Lange: Grab a Hunk of Lightning,” Lange’s photography is presented with equal weight given to Lange’s intuitive eye for structure and composition, as well as to her burning commitment to social justice.
Art workers need to be remunerated in order to survive.
"The Jump Rope Line" by Marcia G. Yerman is included in the Seal Press anthology Dancing at the Shame Prom.
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