Exhibition will include recent photographs from Nagaoka’s series examining Asian masculinity and society’s patriarchal structure as played out in the domestic sphere.
What do shimmering, lustrous, luminous, exotic nail polishes have in common with dreamily painted impressionistic canvases? The artist Rosalie Knox, who has found an enticing new medium for her work, familiar to anyone who has hoped to enhance the natural beauty of their nails.
Interlocking forces of white supremacy and capitalism can castrate the black artist.
At this stage of the march one must interrupt the calculations and begin again at zero
Dawn’s sculptures occupy this zone between psychic and material needs with a forthrightness, both charismatic and awkward.
Her floral compositions are frequently described as “lush,” and with good reason: the oil, wax, graphite, and marble-dust flowers are bunched so densely that there isn’t a center or single focal point.
In I Won’t Last A Day Without You, Pacifico Silano presents new work from his ongoing series of photo collages that draw from gay erotica magazines published after the Stonewall riots (1969) and through the height of the AIDS epidemic (late 1980s).
Rose Dickson builds worlds where humans and objects share elemental bonds, and where balance is maintained by an endless negotiation between push and pull, barrier and passage. This entanglement of things is not scientific, instead it depends on an understanding that everything has a fundamental temperament, and that this temperament is often revealed through interaction.
These deeply intimate bodies of work include reflections on personal identity, the complex experience of sheltering in place, negotiating family dynamics, shifting access to work, and the reality of being an emerging artist in a post-pandemic world.