A biography of the late artist, who used everything from raw meat to bubbling chocolate, acts as an anecdote to historical amnesia around her pioneering material experimentation.
Natalie Weis
Natalie Weis is a writer and art critic based in Louisville, Kentucky. Her interests include emerging artists working on the periphery—both geographically and in their chosen mediums. Her writing has appeared in Sculpture magazine, Collectors, Burnaway and Ruckus, as well as on WFPL, Louisville’s NPR radio station. You can read her writing at natalieweis.com.
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15 NYC Art Shows to See in October
Start off the month with thoughtful shows by a range of artists, from established names like Nan Goldin to newcomers like Rachel Martin and trailblazers like Elizabeth Catlett.
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The Surreal Pathos of Charles Steffen’s Portraits
After suffering a nervous breakdown, the late Chicago artist began to make his surreal graphite and colored pencil portraits on found paper.
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Dorothea Tanning Explored New Worlds Through Collage
Tanning’s practice shows that there is always another door to open, a new world to explore, and that art offers us another possible existence.
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Kathia St. Hilaire Collages the Complex History of Haiti
Like the narratives she portrays, St. Hilaire’s artistic technique is layered and complex, and reflects vernacular cultural aesthetics and practices.
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There’s Something Toxic About Megan Bickel’s Landscapes
Knowledge, visual perception, and the disruption of both by new technologies are at the heart of artist’s multimedia paintings.
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Remembering a Pioneer of Louisville’s Black Avant-Garde
When White-dominated arts institutions would not offer them opportunities, Robert L. Douglas and other Louisville Black artists organized together to create their own art communities.
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Museum Hosts Community Iron Pour for People Affected by Gun Violence
Participants created artworks that will be exhibited at the Speed Art Museum in Louisville, Kentucky.
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Sanford Biggers Cracks the Code of Quilts
Billed as a “survey of quilt-based works,” Sanford Biggers: Codeswitch feels less like an overview of one section of the artist’s oeuvre and more like a record of his creative process overall.
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Joy and Terror Coexist in Vian Sora’s Unsettling Paintings
The capacity to reside in joy and terror in equal measure gives Sora’s paintings their unsettling power, a brutal acknowledgment that creation coexists with destruction.
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An Artist Goes Home to Her Appalachia
The paintings that form the heart of Ceirra Evans: It’s Okay to Go Home offer a more complex and generous response to the stale and sneering stereotypes of Appalachia.
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The Graceful Instability of Kiah Celeste’s Art
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.