Sophia Stewart

2 weeks ago | hyperallergic.com | Valentina Di Liscia |Lisa Zhang |Alexandra Thomas |Sophia Stewart |Albert Mobilio |Lauren Ford

We rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, please join us as a member. It feels both eerie and stabilizing to read Octavia E. Butler’s books in the year 2025, when the realities she prophesized have come true. But the exhibition catalog American Artist: Shaper of God grants us a welcome opportunity to reflect on the lessons we can glean from her legacy, which critic Alexandra M.

Dec 19, 2024 | theatlantic.com | Sophia Stewart

In Ella Baxter’s new novel, being a creative genius is no excuse for bad behavior. When she coined the term art monster in 2014, Jenny Offill didn’t anticipate how fervently readers would take to it. In her novel Dept. of Speculation, Offill’s narrator—a writer, wife, and new mother—confesses in a now oft-quoted passage that when she was younger, “My plan was to never get married.

Oct 15, 2024 | hyperallergic.com | Sophia Stewart

We rely on readers like you to fund our journalism. If you value our coverage and want to support more of it, consider supporting us as a member. Join Us When writer and curator Hettie Judah invited Su Richardson to participate in an exhibition called Acts of Creation: On Art and Motherhood last year, the artist wasn’t too pleased.

Jun 21, 2024 | theatlantic.com | Sophia Stewart

Weeki Wachee Springs State Park, located some 50 miles north of Tampa, Florida, is best known for its mermaids. Since 1947, synchronized swimmers in shimmering tails have performed for audiences in the park’s 400-seat aquariumlike theater, which is built roughly 16 feet below the surface of the Weeki Wachee River’s crystalline spring. As a young girl, watching their water ballet through a wall of glass, I studied the mermaids’ every move in astonishment.

Jun 18, 2024 | artreview.com | Sophia Stewart

A first US solo exhibition surveys the Japanese photographer, often overshadowed by male counterparts she assisted such as Daidō Moriyama and Takuma NakahiraFew legible faces appear in the grainy black-and-white photographs of Tamiko Nishimura. The subjects in Journeys, her first US solo exhibition – mostly women, captured in quotidian moments – tend to escape the camera’s gaze. Most of them turn away from us. Some are simply silhouettes.