Nanette Carter

Nanette coined the term “scapologist” to describe her practice of creating sea, sky, and landscapes in which she explores political themes and the drama of human nature. These fictional, natural worlds provide the artist with a space to visually reflect on the coexistence of injustice and benevolence in contemporary society.

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Annie May Young

Posting about Rosie recently made me realize that I should look into the quilting “movement” from Gee’s Bend. This article has some more context on the medium’s recent impacts.

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(also, and, for those interested in movements in material art here’s the post I did on the women of Bauhaus)

Ibrahim Mahama

Artforum notes an online solo exhibition at White Cube of recent jute sack paintings by Ibrahim Mahama. “In these works, Mahama continues his interrogation of the principle that by engaging with the failures of the past it is possible to ignite new value systems for the future. By so doing, there is the potential to engender economic change that would lead to labor reforms. Produced in his native Ghana with the help of “collaborators,” the jute sacks from which the paintings are created point to histories of trade and commerce and the personal stories of their handlers…”

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Jamison Carter

In the months just prior to Covid-19 rearing its monstrous head in the United States, artist Jamison Carter lost both of his parents. Such a tragedy, combined with the horrors and isolation brought on by the pandemic, would crush even the most stalwart of souls. Yet Carter miraculously managed to find the wherewithal to produce “All Season Radials,” his majestic solo exhibition at Klowden Mann.

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Nonggirrnga Marawili

taps the Earth for her materials and muses. Her works—prints, works on paper, paintings on bark, and larrakitj (memorial poles made from the bark of eucalyptus trees)—are often made with natural ochers that coalesce in spontaneous webs of lines and dots. The resulting works are ethereal, expressive interpretations of water.

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