The Magical Ones
Field notes from artist Rebecca Norton on her Great Meadows Foundation Artist Professional Development Grant trip to Switzerland.
The Ohio Valley Biennial’s Aqueous Rhapsody
Review of Louisville Visual Art’s 2026 Ohio Valley Biennial, juried by relationship and community cultivator Dr. fari nzinga
Fire to Form
Contending with culture and history in contemporary atmospheric ceramics through Sinclaire Marie’s solo exhibition, ASH, at the Gateway Regional Arts Center.
Revival: Digging Into Yesterday, Planting Tomorrow
Review of the group show at 21c Museum Hotel Louisville.
Looking Back at “…do you remember when you were the sky?”
vanessa german’s exhibition as part of the Sam Gilliam Visiting Artist Program at the Speed Art Museum.
JOHNNY RYSTER: THE MAN ON HOGTOWN RIDGE
Johnny stretches over to a piled bench in the back of the shop and returns with a bow, handing it to Don as he surveys his new fiddle, spinning it with the fingers of his right hand, the base of the instrument resting in the palm of his left. He gingerly retrieves the bow from Ryster, bringing the fiddle to his chin, the bow hovering above the strings...
BIG TIME HUGE WATER
Lalana Fedorschak’s Great Meadows APDG Research Travel to the Venice Biennale.
ABEX: THE WOMEN
It is not enough to dig through the archives and “rediscover” the women who were working within the Abstract Expressionist movement. We need to critically consider the conditions that prevented them from being included in the canon and expand the canon to make room for the artists who don’t fit the mold.
TOPOGRAPHY OF SOUND
The same pull that draws you to a natural arch is what brings you to ambient music. It comes as no surprise that this music has flourished here in the Ohio Valley. It is the music of deeply thoughtful people, whose minds and bodies have roamed countless hours.
ECOLOGICAL KINSHIPS
These exhibitions immerse the viewer in imagined ecosystems, reminding us that we are not just spectators of ecology–we are active participants within it.
SIX SMALL WORKS AND A STATEMENT
What makes some violence more highbrow than others? What makes some violence worthy of being displayed in a formal setting and charging admission to gaze upon it? Is it an art critic disregarding portrayals of the common blood and toil of everyday American living? Maybe they see something fanciful and blood-soaked and say, “Now this is a depiction of violence worthy of our halls. This is the real deal.”
KENTUCKY HOLY LAND
What you will encounter at the Loretto artist-in-residence program is a community of elders full of deep curiosity about residents and their work.
RE-COVERING THE MISSING
A small miracle occurred in 2022 when the drywall was cracked open, and the well-preserved pigment of Wajnarowicz’s painting shone through.
THE READYMADE AT THE END OF THE WORLD
After Precarity extends and pushes the conversation on art made from or inspired by commercially manufactured goods, or art in the age of the anthropocene, from the present moment into the future, while drawing on the past.
THE BODY ISN’T A BATTERY THAT DISCHARGES UPON DEATH
I have become more attentive to the pace at which artworks unfold. I remain aesthetically attracted to work that would translate well on a Xerox machine, but I’m more interested in spending time with images, objects, and sounds that reveal themselves slowly. Art that sustains my attention often has a drone about it and seems comfortable steeping in grief.
ALTERING THE STATE
“I would trouble the idea that artists need institutions. I think it’s the other way around. I think institutions need artists. They don’t have anything without us,” she said to a rousing cheer from the audience.
DRIFTING ON A MEMORY
The Black aesthetic is bought, sold, traded, and disregarded like a commodity. It feels like everyone else is profiting from our culture except us. “Drifting on a Memory” is a celebration of our collective expression despite attempts to silence, isolate, destroy, and re-tell our stories.