by Tiana Randall, VOGUE. For many in the Baptist denomination, Easter Sunday church service isn’t just a religious obligation but a homecoming. It becomes a community celebration, a gathering to honor—as many lovingly put it—Christ’s resurrection. People arrive dressed in fresh, spring-inspired looks. By the service’s end, as the congregants overflow into the streets, so does the fashion.
by Kimberly Pirtle, Sotheby’s. Peter W. Kunhardt, Jr. speaks about commitment to advancing photography that promotes Parks’ vision.
by Micah Walker, Bridge Detroit. The Museum of Contemporary Art Detroit (MOCAD) latest exhibition, Gun Violence Memorial Project, is a collaboration with Boston-based architecture firm MASS Design Group, conceptual artist Hank Willis Thomas and his organization Songha & Company, and Chicago advocacy group Purpose Over Pain.
by Julian Lucas, The New Yorker. Simpson’s wryly evasive photos, films, collages—and now paintings—peel back the layers of our looking. Painting; the discipline intimidated her in art school, and even as a mature artist.
by Olivia Hampton, NPR. Even before Amy Sherald was commissioned to paint former First Lady Michelle Obama’s portrait, she knew she’d have a major museum retrospective some day, and she came up with its title: American Sublime. The Whitney Museum of American Art in New York opened the first major survey of her work.
by Reggie Ugwu, The New York Times. Of all the storied bonds between visionary directors and their movie star alter egos — few have been as seamless as the one between Ryan Coogler and Michael B. Jordan. The star and the director of “Sinners” have risen in parallel since first working together over a decade ago.
“As Monica L. Miller and Andrew Bolton have been busy preparing “Superfine: Tailoring Black Style,” the new show at The Met’s Costume Institute, Vogue made a parallel effort: a tribute to the exhibition and a celebration of its themes of menswear, identity and history, the Black dandy in fashion, and his many expressions and forms.
April 25, 10:00 am – 5:00 pm. Michelson Theater, 721 Broadway. What does blackness mean in the context of art criticism? Formal element? Lived experience? Race? How might blackness be conceived in terms not exclusively bound to the sociological and questions of positive/negative, authenticity, truth, or essence? Centering the work of scholars devoted to black visual and expressive culture, this concentration of black study considers the multivalence and critical consequence of blackness as an aesthetic and cultural idea enacted through and across the arts (e.g., literature, film, performance, contemporary art, and music).
1977 – 2025. Nona Faustine, a photographer who used her work to highlight the perseverance of Black women, has passed away at 48. In ways both provocative and beautiful, Faustine’s photography explored conditions afflicting Black women across time. She frequently photographed herself in ways that considered how her body acted as a record of histories of exploitation and empowerment.
Anne Collins Smith was appointed chief curator at the New Orleans Museum of Art (NOMA). Smith is the first Black person to lead NOMA’s curatorial department. Smith leads NOMA’s collection and exhibition initiatives and manages the institution’s team of curators, conservators, and collections staff. She is responsible for the museum’s modern and contemporary art presentations, adding significant expertise in African American art.