In this guest essay by Chris Funkhouser, the writer tells us of Theodore A. Harris’s ‘Road to Damascus’ encounter with a commissioned painted copy of a 1662 Rembrandt work, “The Sampling Officials of the Amsterdam Draper’s Guild” at The Curtis Institute. Harris had been working on a series called “Thesentür/The Thinker.”
Read MoreLogan Cryer sees ‘Data Nation’ at the National Liberty Museum, an exhibit with lots of A.I. in the background, and notes that unlike in other museum, the didactic material is the focus, with the art as a processor of the scientific information — and how that works well here.
Read MoreCorey Qureshi visits Big Ramp in North Philadelphia for ‘Death Card,’ the inaugural exhibit. The gallery is a project of Jacob (Chris) Hammes and others, following the “death” of Pilot Projects, Hammes’s former and beloved experimental space.
Read MoreMaxwell Van Cooper sees the six-person group exhibit ‘minor details’ at TILT Institute. An exhibition that takes off from the idea of an archive, the show is in part a collaboration or, even more-so, a response to curator Rami George’s archival work, “Untitled (minor details).”
Read MoreMiles Orvell goes to New Jersey to see Ellen Harvey’s ‘The Disappointed Tourist’ and cant get it out of his mind. Miles salutes Harvey’s crowd sourced project for the “universality of her major theme — precarity and loss.
Read MoreJanyce Denise Glasper’s trip to Miami’s Art Basel and the allied fairs, Untitled and Prizm was lightning fast and filled with eye treats. Janyce highlights examples of diversity in the fairs.
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On a day of tragedy in Baltimore, caused by a container ship’s collision with the Key Bridge, the ensuing bridge collapse and loss of lives, we are thinking of the city and its people, and about other cities and peoples that depend on infrastructure that is fragile. How vulnerable we all are! Our Baltimore contributor Dereck Mangus, in a review written before this tragedy, will tell you about an exhibit that touches on tragedy — human and ecological.
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