Daniel Fuller examines the dense, immersive qualities of L.V. Hull’s art-making as shown in the exhibition, L.V. Hull: Love Is a Sensation, a partnership with the L.V. Hull Legacy Center at the Mississippi Museum of Art, Jackson.
In our inaugural STORM SIGNAL theme release, Jasmine Amussen discusses The Summer I Turned Pretty‘s hallucinatory, yet Southern Gothic, qualities, and compares the hit show to William Faulkner’s 1930 novel As I Lay Dying.
Courtney McClellan examines reproduction, materiality, and legacy in New York-based, Georgia-born artist Clare Hu’s weavings.
Jackson Markovic examines cultural difference and depictions of archetypal Southern art in the 2005 film Junebug.
Amina Daugherty covers Columbus-based, Miami-born Akeylah Wellington’s explorations of childhood memories, belonging, and “femme-ing” of politics in her woven artworks.
Natalie Willis Whylly situates diaspora-based textile artist Gio Swaby’s Black feminist portraiture in its original Bahamian context.
Isabella Marie Garcia analyzes privilege and representation as they relate to depictions of Lucumí and Abakuá spirituality in Cuban art and within Miami museum exhibitions featuring the work of Belkis Ayón and Elliot & Erick Jiménez.
Francess Archer Dunbar writes about Miami-based artist Reginald O’Neal’s homage to Rainbow Village, a now demolished housing development in Overtown, and the work of arts organization Commissioner.
Looking at the work of Carlos Garaicoa, and the architectural exhibition Prefabricating Solidarity at Vanderbilt University’s Engine for Art, Democracy & Justice, Alexandra Martinez traces the lived history of postcolonial Cuban architecture.
