July 16, 2017

An exhibition created through an unusual collaboration between Carnegie Museum of Art and The Studio Museum in Harlem will open this weekend with music, a family-friendly participatory artwork, food trucks, an artists’ discussion and a workshop.

June 19, 2017

The several dozen artists whose work is featured in this superlative survey did not conform to one style, but they did share urgent concerns, often addressing issues of bias and exclusion in their art—and in their art-world organizing. The Just Above Midtown Gallery (JAM), a crucial New York institution of the black avant-garde, was instrumental to the careers of a number of them, including Lorraine O’Grady, whose sardonic pageant gown made of countless white gloves—the artist wore it in guerrilla performances at gallery openings—is a wonder. There is much powerful photography on view, from Coreen Smith’s spontaneous portraits of Harlemites in the seventies to Lorna Simpson and Carrie Mae Weems’s poignant pairings of image and text, from the eighties. But the ephemera—the fascinating documentation and spirited newsletters—provide the exhibition’s glue, presenting women not as anomalous achievers but as part of a formidable movement.

June 3, 2017

THE VIRGINIA MUSEUM OF FINE ARTS (VMFA) named Valerie Cassel Oliver its new Sydney and Frances Lewis Family Curator of Modern and Contemporary Art. Recognized for her ability to connect with artists and identify promising emerging figures, Cassel Oliver is expected to invigorate the department, introducing an innovative exhibition program and a broad range of new artistic voices. 

May 27, 2017

LOUSVILLE, Ky. — It’s hard to describe the surreal feeling of going to see The Future Is Female at 21C Museum and Hotel in Louisville, Kentucky, at this particular moment. While it was planned before the 2016 election, the exhibition opened in its immediate wake, at a time when the idea of a “female future” seemed very far from the sure thing many had dreamed of before November 8. Yet even within the current social and political climate, the exhibition is a far cry from an elegy to feminism past. In many ways, the show is an illustration of the intersectional and interdependent issues that comprise women’s lived experiences, through which it offers hope for a feminist future that is still to come. The female future it proposes is not reserved for the coastal enclaves of New York and California, but has taken root in other parts of the United States — including the South and the Midwest — and within the global system on the whole.

April 29, 2017

There’s something uncanny about walking into a corner of the past and finding it almost indistinguishable from the present. We Wanted a Revolution: Black Radical Women, 1965-1985, at the Brooklyn Museum, is ostensibly a historical exhibition about a period when outrage crystallised into fresh artistic expressions. The fluent survey focuses on a forgotten generation of committed women who joined alliances yet also lifted their separate voices above the collective shout. They formed a constellation of groups such as Spiral, the Black Arts Movement, Where We At, and Women, Students and Artists for Black Art Liberation. Now, decades later, the causes they represent remain shockingly current, and their distinct sensibilities come together in a show that is at once motley and unified.