Bonolo Kavula

Artforum notes that Bonolo decided early in her career what she did not want her art practice to be about: the political burden of being a Black woman in South Africa. Born in 1992, the artist found that most of the art history she encountered in her country was charged with the discourses of racial and cultural identity politics. Since her time studying at the Michaelis School of Fine Art in Cape Town, Kavula has been determined to play and experiment with form.

If readers find the broader conversation about abstraction in the hands of Black creatives interesting, you should look at Artsy’s ’23 curator outlook in which Larry Ossei-Mensah predicts that abstraction by artists of color will become even more prominent in 2023.

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Duane Linklater

is included in Junkyard of Dreams at Bortolami. Linklater’s practice is concerned in part with the exploration of the physical and theoretical structures of the museum in relation to the current and historical conditions of Indigenous people and their objects and forms. These explorations are articulated in a myriad of forms including sculpture, photography, film and video, installation and text works.

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Margaret Saliske

In her newest work, Margaret imagines a shape and then works it out against the wall altering it perhaps the way a potter manipulates clay pushing and pulling angles. The form then suggests how the black will interact with it and connect it to the wall. In some of the pieces there is a visual sequence that moves from object, to actual plane, to implied plane. There is an ambiguity in the relationship between these planes that the viewer resolves by moving around the pieces.
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Tadaaki Kuwayama

In the first of three innovative
exhibitions featuring pairs of artists whose work is sometimes overtly,
sometimes inadvertently linked through the intimacies of living together, Shoshana Wayne Gallery highlights the paper constructions of Rakuko Naito and the paintings of Tadaaki Kuwayama
.

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