It’s dazzling what seeps into us and how, all these epigenetics and the unknowable hardware of our evolution shaping who and what we are now, both individually and societally.

Each work captures a specific moment within the kiln, and now lives among the earth in permanence.

Visitors may amass knowledge and be reminded that at all times, we are individually and for the good of all, negotiating our history into what we want for our future. 

Through german’s assemblage sculptures and performances, the viewer has the opportunity to look back to the girls—to hear them—and forward into a future that holds space for more than just their suffering.

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.

These exhibitions immerse the viewer in imagined ecosystems, reminding us that we are not just spectators of ecology–we are active participants within it.

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.”

A small miracle occurred in 2022 when the drywall was cracked open, and the well-preserved pigment of Wajnarowicz’s painting shone through.

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.

What role remains for the wild-hearted artist in a world that may no longer have any use for them?

It feels like work that could be enjoyed by the snobbiest New York critic and by your uncle sucking back his second doobie and putting on an Emmerson Lake and Palmer vinyl.

What Double Life reveals is that the various worlds we inhabit and the lives we live are not as distant as we might imagine, and that what we return to, again and again, ultimately forms the shape of a life.

Perhaps quilts that appear unconventional to us now are ushering in a future of quiltmaking techniques that shy away from presupposed restrictions.

What activates or is transmitted in the exchange between skinny-dipper and pond, or painter and painting, or seeker and finder, is the dynamic, cosmic, primordial, feminine energy that pervades all aspects of life.

I am drawn in by landscapes familiar to this fictional home; images of Southern suburbia in autumn beckon associations of Halloween, trickery, and the all-too-familiar damp heat that brings creatures to the surface.

Foster shows the warping of history and the heroism that can so easily be clung to when reflecting on bloodline lineage.

The friction behind what makes this place home and what can make it feel threatening can be found in the places where our inherent natures go against Southern hegemony – a hegemony made up of whiteness, hetero- and cis-normativity, and Christianity.

Anderson’s visual language of strain and suspended motion reveals a carcass of American idealism. Repetition that persists without momentum builds an irresolvable tension that grinds hollow promises of prosperity into trails of burning rubber and collective exhaustion.