Detail view of Jeremy Toussaint- Baptiste,

In Conversation 

Jeremy Toussaint-Baptiste: Bass is Touch

Jeremy Toussaint-Baptiste approaches art through carefully constructing active moments of reflection. His prac ...

Billie Zangewa, An Angel at My Bedside, 2020. Hand-stitched silk collage, 31.89 x 46.06 inches. Courtesy of Sangbeom Kim and Sunjung Kim.

Thread for a Web Begun at MoAD 

Billie Zangewa: The Domestic Is Political

Through her work, Billie Zangewa shares personal memories and landscapes of the home that live in her mind. Sh ...

Jennifer Packer: Confronting the Complex, the Ugly, and the Forbidden

The Eye Is Not Satisfied With Seeing  

Jennifer Packer: Confronting the Complex, the Ugly, and the Forbidden

“All things are full of weariness: a man cannot utter it: the eye is not satisfied with seeing, not the ear ...

Ashley B. Wormsley, Children of Nan, Chapter 5: Aditi 36. Screenshot. Courtesy the artist.

Screenings 

Dislocated. Blackness in the City.

“In this film series and book (There Are Black People In The Future) we will begin with Lefebvre’s spa ...

Renee Gladman, One Long Black Sentence, 2020. Courtesy and © Renee Gladman and Image Text Ithaca Press

One Long Black Sentence  

Queering the Line with Renee Gladman & Fred Moten

“The problem was in the form of a question: in order to draw (was how it began), would one have to give up w ...

Leticia Contreras, Estría Sagrada. Vertigios Preciosos (Sacred Striation, Precious Traces) installation view. Project Row Houses, Round 49: Penumbras: Sacred Geometries, 2019. Photo by Alex Barber.

In Conversation 

Leticia Contreras on Art in the Age of Social Emergency

Contemporary And: One of the questions I’m interested in is how you bring the concept of home into your prac ...

Sanford Biggers - Object
Khemetstry, 2017
Antique quilt, birch plywood, gold leaf.
Consisting of two elements, hung on the wall with custom cleats. Photo Credit: Khemetstry, © Sanford Biggers and Marianne Boesky Gallery. Photograph by Object Studies.

In Conversation with Sanford Biggers 

The Many Faces of Sanford Biggers

Contemporary And: What are you currently working on? Sanford Biggers: I’m working on my solo exhibition, Cod ...

Betye Saar, I’ll Bend But I Will Not Break, 1998. Mixed media tableau: vintage ironing board, flat iron, metal chin, white bed sheet, six wooden clothespins, cotton, clothesline and one rope hook, 80 x 96 x 36 in (203.2 x 243.8 x 91.4 cm), Los Angeles County Museum of Art, Gift of Lynda and Stewart Resnick through the 2018 Collectors Committee, © Betye Saar

Inventing Your Own Game 

Betye Saar: The Majesty She Holds In Her Hands

Perhaps the magic that Betye Saar imbues into her artworks has something to do with a majesty she has within h ...

Akosua Adoma Owusu, Welcome to the Jungle, 2019; installation view, CCA Wattis Institute;

Akosua Adoma Owusu: Welcome to the Jungle 

Beauty and Power in Black Hair Culture

Akosua Adoma Owusu is a Ghanaian-American filmmaker in the broadest sense. She thinks and presents her work in ...

Dawoud Bey, Untitled #14 (Site of John Brown’s Tannery), 2017. Courtesy the artist and Art Institute Chicago.

In Conversation with Dawoud Bey 

Safe Spaces in the Dark

Contemporary And: Your work has generally centered on portraiture, so the landscapes appear to be a striking d ...

Elle Pérez, Lineysha Sparx at Club Hippo's Euphoria Latina Party, Baltimore, 2013. Courtesy the artist.

In Conversation with Elle Pérez  

Fearless Bodies and Identities in Elle Pérez’ Photography

“Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to whi ...

Allison Janae Hamilton, Scratching at the wrong side of firmament., 2015
Archival pigment print
40 x 55 inches. Courtesy of the artist

In Conversation with Larry Ossei-Mensah 

Traveling Through Unknown Territories

C&: Kerouac’s book, On the Road, is centered on the performance of a particular subset of white masculin ...


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