Hyperallergic

4 days ago | hyperallergic.com | Natalie Haddad |Hakim Bishara |Lakshmi Rivera Amin |Monica Uszerowicz

Artist’s voices aren’t always easy to listen to. Sometimes it’s because they’re speaking to uncomfortable realities that shape our societies and lives. In other cases, the art may be part of that uncomfortable reality, reflecting rather than critiquing harmful perspectives. The solo exhibitions below all represent artists with strong individual visions and voices, some more problematic than enlightening, but all thought provoking.

1 week ago | hyperallergic.com | Claudia Ross

LOS ANGELES – I remember when the smoke plume from the Palisades and Eaton fires left LA in January, its black veil drifting out to sea like a hand loosening its grip. Recently, it feels like the smoldering mass has returned as an ICE-shaped fist tightening from the coast to the San Fernando Valley. Fire and smoke have become a symbol of civic uprising, from incinerated Waymos and cop cars to the gray clouds that burst out of the LAPD’s tear gas canisters and munitions.

1 week ago | hyperallergic.com | Lakshmi Rivera Amin

Welcome to the 290th installment of A View From the Easel, a series in which artists reflect on their workspace. This week, artists envision an art museum in Nashville and pine for a loft to paint in. Want to take part? Check out our submission guidelines and share a bit about your studio with us through this form! All mediums and workspaces are welcome, including your home studio. How long have you been working in this space? Twenty years. Describe an average day in your studio.

1 week ago | hyperallergic.com | Lakshmi Rivera Amin

‣ Climate historian Amelia Urry meditates on the visual patterns of fractals in nature, from waves to glaciers, and what they tell us about chaos. For Atmos, she writes:No one but a mathematician or a climate modeler is likely to mistake a cloud for a sphere, and yet natural forms’ simple defiance of standard geometry is indeed remarkable. Clouds, mountains, and lightning look jagged and uneven, yet they are not without their own species of order.

1 week ago | hyperallergic.com | Natalie Haddad

The Brant Foundation’s Glenn Ligon isn’t a deep dive into the artist’s career, but it is a concise overview that does something rare: it gives the art space to connect with the viewer. The show’s eight works, all drawn from the Brant’s collection, are spread across four stories, two of which are dedicated to one installation each. Almost like a “greatest hits,” it includes stenciled text paintings, neon signs, and one video installation.