Kelly Kristin Jones: Q&A

Chicago artist Kelly Kristin Jones creates photo-based work that challenges, interrogates, and investigates the remnants of white supremacy that linger in our visual culture and iconography. Thanks to recent calls to remove contested monuments from public spaces, some of her subjects may be more well-known than others, such as her photographs of public monuments that she has physically covered or blocked from the viewers’ sight. But others are not so obvious.

What does freedom look like?

“Can you see me?” at Weinberg/Newton Gallery intentionally gives a platform to individuals affected by incarceration and to communities that have been deeply cut by the prison industrial complex. What does it mean to listen to a person’s experience while simultaneously considering the depth of change it has on a group, a community, a generation? How can artistic collaboration center the collective voices of incarcerated folks while maintaining their humanity as individuals?

Memory’s Keeper: A Review of "Remnants" at Heaven Gallery

A memory is a fickle thing. It transforms as time passes, reshaping and rebuilding itself within the memory’s keeper. We picture the details of a memory: the wallpaper in a room, the scraps of fabric on our grandmother’s work table, the aged books in the kitchen that hold our family recipes. But just like the objects themselves, these details age, they fade and reshape as the years go by and we desperately try to hold onto their richness.


The undeniably talented figurative painter Alannah Farrell currently has their first solo exhibition in Los Angeles at Anat Ebgi Gallery, on view from June 5, to July 10, 2021. In their show “History of Violence,” the artist gives us a glimpse through a window of intimacy, into the lives of their friends and chosen family in stunning shades of soft blues and flesh tones. Each portrait is part memory, part narrative, and all raw truth.

Fantasy of a Fantasy - A Review of Kajahl: "Royal Specter" at Monique Meloche

Monique Meloche’s exhibition Royal Specter, featuring work by the artist Kajahl, is in every aspect a museum-quality exhibition. I am not merely referencing the historically traditional and representational style of Kajahl’s paintings (that is to say, portraying a ‘likeness’ of the subject—and whose likeness is it? More on that later). I am also not just referencing the artist’s unbelievably skilled use of oil paint on canvas—materials that are, again, traditional.

Out of Time by Cass Davis at Aspect/Ratio Gallery

The exhibition Out of Time by Cass Davis is an investigation of personal history, collective history, and gendered violence. The work oscillates between soft/tactile, and ghostly/alarming. Rooted in imagery that is (for better or for worse) deeply Midwestern, the work shown is aesthetically punctured by three-parts: textile works that hold faded images of religious revivals, assemblages of childhood objects embedded in earth and flowers, and photographs and moving images with lighting and tones that simultaneously haunt and render hyper-real.

Continuously Becoming: A Review of Nine Lives at the Renaissance Society

I thought I knew what to expect when entering “Nine Lives” at The Renaissance Society, one exhibition of many that have opened around the country as part of the Feminist Art Coalition. I looked forward to seeing a collection of works that were by all female or non-binary artists, or that perhaps embodied a feminist ideology, which they did. It was much more than that, as each piece was so varied in its message, each artist putting forth an experience both singular and authentic.

10 (+1) Highlights from Expo Chicago 2019

Claire Oliver Gallery, located in New York, showcased the exhibition Upending the Narrative, which included the work of Bisa Butler and Leonardo Benzant. Claire Oliver Gallery explains that the two artists “create detailed and sumptuous works of art redolent with content and mystery; these works demand to be studied. Equally important to the painstaking ‘making’ is their studio practices exploring the current condition in their own African American communities.”
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