A Conversation with Kenseth Armstead

Kenseth Armstead’s videos, drawings, and sculptures draw upon and re-envision the legacy of Africans and their diaspora in the United States. In his decade-long “Spook” project, Armstead explored the life and legacy of James Armistead Lafayette, a double-agent spy for George Washington during the American Revolution.

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Kapwani Kiwanga

ROTTERDAM Kunstinstituut Melly Kapwani Kiwanga’s recent exhibition featured three installations and a hanging cloth work—all addressing strategies of resistance, from historical slavery to the American civil rights era, to today’s anti-racist movements and demonstrations. Botany played an unexpected, and key, role in all but one of these new works, as Kiwanga drew out the histories of various plants smuggled into America by enslaved Africans.

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Dubious Origins: A Conversation with Sanford Biggers

By remixing references and aesthetic values from multiple cultures and time periods, Biggers reconsiders questions of authenticity, art historical authority, and provenance, infusing his hybridized forms—which he calls “objects for a future ethnography”—with overlapping and sometimes diametrically opposed meanings that demand to be grasped simultaneously.

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Welcoming: A Conversation with Donté K. Hayes

Influenced by hip-hop, history, and science fiction, Donté K. Hayes explores memories of the past to project possible futures. The ceramic vessels in his “Welcoming” series use the pineapple as a surrogate for the Black body, tapping into its dual significance as a symbol of welcome and hospitality for some groups and a symbol of racist exclusion and agricultural colonization for others.

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Betye Saar

NEW YORK The Morgan Library & Museum Each finished work in the exhibition is accompanied by pages from Saar’s working sketchbooks—these pairings open a fascinating window onto Saar’s process, illuminating what she calls “the mysterious transformation of object into art.”

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Richard Hunt

CHICAGO The Art Institute of Chicago Richard Hunt’s career trajectory reads like a modern-day version of a Baroque-era prodigy’s story. In 1957, while he was a student at the School of the Art Institute of Chicago (SAIC), the Museum of Modern Art purchased one of his works. Soon after, his sculptures were on display at the Whitney, the Cleveland Museum of Art, and the Art Institute of Chicago.

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Thaddeus Mosley

NEW YORK Karma Still making work at the age of 94, self-taught sculptor Thaddeus Mosley serves as an outstanding example of why Black Lives Matter. Although well known in the Pittsburgh area, where he has been exhibiting since 1959, his work has only recently gained a broader audience, due in part to his inclusion in the 2018 Carnegie International.

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