Since arts organizations began emphasizing equity, diversity, and inclusion, commendable efforts have emerged, resulting in tangible changes, often at the institutional level. These efforts have led to the opening of doors, the dismantling of barriers, and the establishment of genuinely welcoming environments that offer opportunities to ethnic minorities, women, Black artists, and neglected communities, as well as authentic stories about nations. However, a critical question remains: how prepared are these art organizations to fully commit to advancing equity and implementing actions that speak louder than land acknowledgement words? Are measures being taken on national and international levels to move such efforts forward and prevent them from stagnating in the past? Is developing an action plan enough, or is more concrete action required? Recent years witnessed a growing recognition … [Read more...] about CULTURAL CATALYSTS AT TUFTS: INDIGENOUS ART AND EQUITY IN THE CONTEMPORARY LANDSCAPE

Through performance art, photography and film, trans-Indigenous/Brazilian artist UÝRA tries to make sense, and advocate, in a hostile world. UÝRA — who identifies with she/her/they/them pronouns — has created a tight exhibition that focuses on prejudice and oppression, biodiversity and dispossession, ritual, the lasting wounds of colonialism and the goings-on of their young compatriots in the industrial center of Manaus, which sits central in the sprawling state of Amazonas. The threats directed at UÝRA and her ilk are real, the socio-economic status quo seemingly insurmountable. It’s fitting that “The Living Forest: UÝRA,” on view at the Currier Museum of Art in Manchester, New Hampshire through September 24, is the artist’s first exhibition in the United States. The current similarities between the two countries are unsettling, from our rickety tri-branch federal systems to our … [Read more...] about UÝRA’S LIVING FOREST: BRAZILIAN ARTIST’S BOLD U.S. DEBUT AT THE CURRIER

Surreal, puckish touches everywhere: An unimposing wall of a sea captain’s mansion blares as if with a spotlight for a celebrity to enter or exit; or perhaps an invitation for the honored viewer – yourself – but there is no door, just the leaves of high bushes full of light. Are bushes being honored, while the majestic facade’s portal is ignored? Everyone knows Edward Hopper’s iconic 1942 “Nighthawks,” but are they fully aware of how his touches of individuality in the clothes, the attitude of bodies in themselves and in relation to the other bodies, fills a scene, inert in other hands, with drama. Hopper, shy and reticent as a person, as an artist he loves to steal upon a scene with hidden meanings, open it up for his delectation, then share it with anyone around who cares to peer over his shoulder. All shyness and reticence laid aside, when he takes up his brushes, Hopper becomes an … [Read more...] about FIERCE, FRESH AND FURIOUS: MR. HOPPER’S NEIGHBORHOOD STARTS AT CAPE ANN MUSEUM

Joyce J. Scott, recognized as the foremost pioneer and influencer in the realms of beadwork, fine art, craft and social commentary, is being honored through “Messages,” her inaugural New England solo exhibition that is on view through November 5 at Fuller Craft Museum in Brockton, Massachusetts. Curated and organized by Jo Anne and Libby Cooper of Mobilia Galleryof Cambridge, this momentous occasion celebrates a storied career replete with accomplishments and sustained dedication spanning decades, all aimed at propelling the arts forward while underscoring the profound significance and aesthetic allure of African American art and its enduring legacies. Scott, a dynamic multimedia artist, commands a nationwide audience with her resonant voice. Her creative journey is indelibly shaped by the profound influence of her mother, Elizabeth Talford Scott — an esteemed fiber artists who served … [Read more...] about A TAPESTRY OF STORIES: JOYCE J. SCOTT’S BEADWORK AT FULLER CRAFT

There is beauty in what is blooming, beauty in what withers and satisfaction in assembling a world of flowers and objects into a specific aesthetic expression. Anyone who has ever picked flowers and arranged them, and then photographed or painted them, anyone who has put a collection of pleasing objects into a personal exhibit or admires the work of Joseph Cornell or the antique cabinets that curiosities collectors used to keep, can understand the indescribable satisfaction in creating little worlds under your control. This is what photographer Kimberly Witham’s art embodies, always inspired by the 17th century Dutch masters’ still-lifes since she began about 25 years ago. An art historian in college, she discovered that she would rather be creating art than writing about it, “so I went to grad school for photography.” But, she said, “You can never quite get the art history out of your … [Read more...] about LITTLE FLOWERING WORLDS: KIMBERLY WITHAM’S VIGNETTES AT GARY MAROTTA FINE ART

The phenomenon of displacement, whether stemming from conflict, economic forces, or environmental shifts, exerts a profound influence not solely on those directly uprooted, but also on their subsequent generations. The repercussions of displacement, encompassing personal experiences, enduring traumas, and cultural disconnections, extend across time, impacting not just the displaced individuals but echoing into the lives of their descendants are explored in Kingston Gallery’s current solo exhibition, “Krystle Brown: Better Homes Than Gardens,” through October 1. Within this exhibition lies a poignant exploration of the concept of "home," delving beyond its physical embodiment to reveal the intricate tapestry of economic, societal and governmental structures that mold the pursuit of a secure dwelling. Through a multidisciplinary approach including painting, photography, installation, and … [Read more...] about WHAT IS HOME?: KRYSTLE BROWN EXPLORES DISPLACEMENT AT KINGSTON GALLERY