Artist and creator Alivia Blade reflects on these ancestral images and long-held traditions of Black American culture. Her installation, Sanctuaria, on view at Snide Hotel Gallery, conjures a dedicated world for dreaming and rest, imagination and rejuvenation.

In Joiner's photographs, she memorializes the connections of home, between the self and family, acknowledging how fragile they may become in the wake of grief.

Displacement and the destruction of built environments is a violence that is often not described as such. This exhibition tries to depict that in a clear way, that this is a really real form of violence against communities.

In this moment of climate catastrophe, All Four Seasons in Equal Measure reads as both lament and plea: mourning the loss of biodiversity and climatic predictability while urging us to look and listen to what remains of the wild.

We are constantly bombarded with images that contain motives. With this exhibit, we want people to really think about that and remember that the photos they are looking at are constructed, maybe by a photographer, and now maybe by AI.

No Comply may be in retirement, but its spirit will keep moving through the city in the people who built it and the crowds who gathered for it. Thank you to each and every one of the organizers and for everyone who helped make it possible.

Peter Price’s debut solo exhibition at Snide Hotel Gallery, Third Person Omniscient, implies through name and form, an arcane tether spanning time and space, cast and narrator.

Working with what is likely the smallest spending pool in the region, House of Anguish sculpts in cobweb and bone a model for populist, public art. With experiential arts spaces, or selfie museums as derided, pumping blood into the contemporary gallery scene, the haunted house remains a silent type-O donor.

A patriotic mermaid, leather daddy Santa, and a drag queen easter egg all walk into an art gallery. The result? An overwhelming immersion into the world of Kentucky’s LGBTQ history, seen through the eyes of queer artist Feather Chiaverini.

The coastal aesthetic is shifting–like the barrier islands it is modeled after–from that of a reflection of the outdoors to merely a memory. The body, anonymous and in a state of stillness (whether by leisure or illness–reasons are unclear) is a reminder of our impermanence on this planet, and, oddly, it feels comforting.

Overall, I feel like I have been totally reinvented in my vision of my work and its future potential and have been given a new perspective on what is possible as an artist.

In Louisville’s Germantown, Bash At The Bar unites wrestlers, musicians, and costumed chaos in a loud, theatrical celebration. From $10 chops to OVW legends, the night blurs performance art and sport, proving that the most memorable experiences happen face-to-face, not through a screen.

What is Quesenberry’s art about? Why ask the question. The light boxes, the pulsing circles, and the vivid Polaroid forms offer moments of radiance and resonance. Quesenberry’s luminous constructions are meant to be felt, to be experienced. They may cause a visual shift, or offer a glimpse of memory.

Come Rain or Shine, by Ceirra Evans at Institute 193, runs in circles—like a dog chasing its tail—around the stereotypes of Appalachian life and is set against the tumultuous backdrop of social, political, and climate catastrophe. Yet, it holds fast to the urgency of friendship, frugality, and solidarity in the face of global meltdown.

A conversation hosted between Kentucky curators Sirene Martin and Anna Blake surrounding their separate experiences at the opening of Prospect New Orleans’ 6th Triennial, The Future is Present, The Harbinger is Home, curated by Miranda Lash and Ebony G. Patterson.