Review
Coleman Collins, The Upper Room
They Will Not Complete It In Their Lifetimes
It’s electric, jumping from each artist’s work, between the various materials and representations, yet they unite in their futurity to prompt questions: What will remain of us, and what transcends understanding?
Magdalena Suarez Frimkess—The Finest Disregard
Even her utilitarian tableware—tortilla plates and coffee mugs—appear sculptural, not functional. Whereas many ceramicists, including her husband, take great pains to rid their work of evidence of their physicality, eradicating touch, pressure, emotion, and kinetic energy, Magdalena’s sculptures quiver with her presence. Fingerprints, pinch marks, patchwork, the spontaneity and surety of her brushstrokes altogether engender a perceptible alive-ness.
Tiffany Smith: Back Home
Choreographies of the Impossible, the 35th Bienal de São Paulo
I Like It Hot: Red, White & Royal Blue
Amanda Grae Platner: It’s Still Not Me, It’s You
In It’s Still Not Me, It’s You at Atlanta’s Echo Contemporary Art, Platner’s self-portraits and installations invite the viewer into her world. She coaxes empathy through a variety of strategies, some that are playful and interactive, others that involve showing pain.