Review: Segregation Story

D. Eric Bookhardt on Gordon Parks’ mesmerizing photos of 1950s Alabama
At first glance, many of these photographs of Alabama in 1956 suggest the mellow, nostalgic visions of traditional American life that we associate with Norman Rockwell's illustrations or Ronald Reagan's speeches. Look again, and many of the people in these pictures appear clustered near signs announcing "White" or "Colored" that imposed race-based restrictions on their freedom.

Review: No Dead Artists

D. Eric Bookhardt on the 18th annual expo of contemporary art
It has taken a while, but visual artists are finally starting to chart their own course once again. For too long, the art world seemed stuck in endless reruns of the late 1980s, when postmodernism first became dominant.

Review: True Colors

D. Eric Bookhardt on a group exhibition by LGBT artists at the Antenna Gallery
Among the peculiarities that set this city apart is how identity issues, ethnicities and orientations can quietly become scrambled or overlap. Whether due to inclusiveness or laissez-faire attitudes, boundaries tend to blur over time.

Review: Eradication: A Form of Obsession and One and Together

D. Eric Bookhardt on sculptures by Chakaia Booker and Katherine Taylor
For city dwellers, nothing is more ordinary than automobile tires. But if new tires suggest a smooth ride into the future, the abandoned tires that litter distressed neighborhoods symbolize blight, and nobody wants them — except Chakaia Booker, who makes them into mysterious artworks.

Review: Comic Book Diplomacy and The Lies We Believe

D. Eric Bookhardt on new works by Christopher Saucedo and Ayo Scott
Beyond airplanes and atom bombs, few things symbolize 20th-century America more than comic book superheroes. Just as ancient Rome believed in all-powerful deities like Apollo and Minerva, kids in midcentury America — often called a new Roman empire — believed in Superman and Wonder Woman.

Review: Mark of the Feminine

D. Eric Bookhardt on a mixed-media group exhibit at the Contemporary Arts Center
Even by the standards of large institutional survey exhibitions, the Contemporary Arts Center's Mark of the Feminine expo of works by local women artists covers a wide range of styles and visions. The sheer diversity is daunting at first as we are confronted with artworks ranging from meticulously linear concoctions such as Monica Zeringue's large, graphite She Wolf self-portrait (pictured) and Gabrielle Gaspard's intimate intaglio print of female hands impossibly bound with delicately thin thread to raucously outrageous works like Sarah Sole's satiric paintings of Hillary Clinton acting out in unlikely situations and Vanessa Centeno's large, surreal soft-sculpture Get It Up, which suggests a lurid sea anemone from outer space.

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