Multidisciplinary artist Simone Leigh, whose work explores and challenges societal notions of Black femme identity, has released a limited-edition bronze sculpture, Sentinel IV (2020). All proceeds will benefit the racial justice organization Color of Change.
Rashad Robinson, Color of Change president, says of the partnership: “Simone’s work makes visible and palpable the subjectivity of Black women, whose experiences and leadership have always been central to struggles for liberation nationally and globally.”
Shana Condill (Eastern Band of Cherokee Indians) reflects on the National Gallery of Art’s first exhibited artwork by an Indigenous artist: I See Red: Target (1992) by Jaune Quick-to-See-Smith (Confederated Salish and Kootenai Tribes).
The New York Times profiles Rosie Lee Tompkins, whose vibrant quilts provide “evidence of the towering African American achievements that permeate the culture of this country.”
ZORA interviews production designer Ina Mayhew about her work for Respect, the upcoming Aretha Franklin biopic.
The New York Times Magazine asks 15 queer artists of color to speak to the stories and experiences behind their work. Among those featured are Jennifer Packer, Sable Elyse Smith, Christina Quarles, Nina Chanel Abney, and Nikita Gale.
The New Yorker discusses the “cultivated vulnerability” that permeates the styles, narratives, and themes of works by fiction writer Joyce Carol Oates.
Shows We Want to See—Online Edition
Google Arts and Culture and the Johannesburg Art Gallery present The Evidence of Things Not Seen: Performing gendered and queer identities. The exhibition includes works by Mary Sibande, Nandipha Mntambo, Gabrielle Goliath, Tracey Rose, Belinda (Billie) Zangewa, and Zanele Muholi.
Blum & Poe Gallery, in collaboration with Pace Galleries and Mendes Wood DM, presents Broadcasts: Sonia Gomes’s Life Doesn’t Frighten Me. The exhibition coincides with the announcement that Blum & Poe and Pace Galleries will now represent the Brazilian sculptor. Gomes says of her practice: “My work is Black, it is feminine, and it is marginal.”