The exhibition No Justice Without Love poses questions about the roots and limitations of our civic imagination.
Seph Rodney
Seph Rodney, PhD, is a former senior critic and Opinion Editor for Hyperallergic, and is now a regular contributor to it and the New York Times. In 2020, he won the Rabkin Arts Journalism prize and in 2022 won the Andy Warhol Foundation Arts Writers Grant. Seph can be heard on the podcast The American Age.
Posted inOpinion
Are We Asking Too Much of Public Art?
We want public art to interrogate social injustices, fill us with love and joy, and brush aside human flaws, but it rarely ever lives up to these expectations.
Posted inArt
Discovering How Black Women Might Forge a Path to Freedom
The “Loophole of Retreat” symposium at the Venice Biennale demonstrated that the personal is not only political; it’s also where most of humanity lives.
Posted inArt
A Show About the Great Migration Strikes a Timely Chord
At a moment when the future of this country seems precarious and uncertain, A Movement in Every Direction demonstrates that Black Americans have been among this nation’s most stalwart heroes.
Posted inArt
Art Criticism as a Way to Live
These are what have been for me the most troubling and beautiful aspects of being a full-time critic and writer.
Posted inArt
At the Baltimore Museum of Art, Joy That Is a Little Askew
Richard Yarde’s watercolors make a historical document into something personal, wistful, more a vision than a visual fact.
Posted inArt
Why Joan Mitchell’s Paintings Can Never Die
Unlike the more celebrated painters around her, she didn’t resolve herself to working the same issues over and over; she kept asking herself other questions, pushing the paint to do what it had not quite done before.
Posted inArt
Bits and Pieces of Our Mortality
The images in Vik Muniz’s exhibition Scraps tempts that implicit human tendency to fill in the blanks, complete that which is partial, fragmentary.
Posted inArt
Jennie C. Jones and the Music of Chance
Jones’s playful asymmetry doesn’t seek so much to declare what order should look like as it is simply engaged in ongoing negotiations around balance and presence.
Posted inArt
Byron Kim Achieves Equilibrium
Perhaps these paintings are what it feels like for the artist to be in a state of not being harried, anxious or in deep existentialist dread.
Posted inArt
Jennifer Packer Shows Us the Responsibility of Seeing
Most everything in this show, is unsure, a maybe, might be there, might not be, could fulfill your hopes, might leave them by the side of the road.
Posted inArt
A Remarkable Online Show of Young Photography
What is wonderful about the online photography exhibition What Have We Stopped Hiding? is that one is given entrée to the internal monologue of the artists featured in the show.
