Bigindicator

Jessica Lanay

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Other ArtSlant Prize IX catalogue essays: Sabato Visconti & Katya Grokhovsky   The journeying lines that dominate David Rios Ferreira’s two-dimensional assemblage works, like an EKG reading or the longitudinal and latitudinal lines in a map, are enchanted with the force of their potential. Each vector loops, and builds, like a vine; they fall into one another’s paths, creating rich dimensions in each drawing. Forged together with cartoony shapes in vibrant colors, they create top... [more]
Unlike recent major shows that are chronological surveys of Black art in the context of political upheaval and communal struggle, the exhibition centers the aesthetics, techniques, and innovation of its artists. Now at the August Wilson Center in Pittsburgh, the exhibition magnifies the interstices of the Black experience that push against the historical watersheds that have come to over-define Black life. The onus of Transformative Space is not to couch Black art as a mere reaction to... [more]
Writer Jessica Lanay spoke with LaToya Ruby Frazier on the occasion of her concurrent exhibitions at Silver Eye and the August Wilson Center in Pittsburgh. The latter exhibition, , both documents and is shared with artist Sandra Gould Ford. You can read the review of the Silver Eye exhibition, The Notion of Family, here. A transcript of the interview follows:   Jessica Lanay: When I look at the photographs at Silver Eye Gallery and the August Wilson Center I see a complicated narrative... [more]
LaToya Ruby Frazier’s photography braids together the intimacies between landscape, industry, and the Black woman’s body. Impactful, private, and silver ensconced, her images reveal a sometimes wonderful and other times tragic interdependency. In two recent Pittsburgh exhibitions— at Silver Eye Center for Photography and On The Making Of Steel Genesis: Sandra Gould Ford at the August Wilson Center, a shared exhibition of photography by Frazier and Sandra Gould Ford—Frazier captures the... [more]
Walking into Thaddeus Mosley’s studio is like entering a bestiary that has exploded from its pages. From three feet tall to scraping the ceiling of the workshop, the wooden bodies of Mosley’s sculptures radiate warmth and power as they cut through the air. Inspired by birds and the art of Brancusi, Mosley’s daring compositions arc into splendid, gravity-defying geometries. With works weighing as much as four hundred pounds, one wonders how this 91-year-old artist is still intimately engaging... [more]
Ayana Velissia Jackson is a photographer and video artist who makes amendments to a traditionally one-sided history of race and gender in photography. In her practice, Jackson positions her body as subject in order to create a new time/space in which she may interrogate tropes of the Black body in photography. Her recent Cape Town exhibition at Gallery MOMO, , is a visual dialogue that speaks to ideas of race, gender, pleasure, escapism, and creating monuments for the Black femme in history.... [more]
The contemporary political and social hive mind of the Western World is preoccupied with issues of race and gender. The recent White Nationalist rally at the University of Virginia, the physical violence involved (mostly perpetrated on students protesting Neo-Nazism), and lukewarm statements from the White House encapsulate the struggle to break with patterns of a troubled past to fix the ails of a troubled present, and possibly escape a troubled future. We are indeed grappling with... [more]