#amoako-boafo

#amoako-boafo

"My paintings can be described as sculptural in nature, emphasising physical presence, weight and materiality."

In 2025, Dmae Lo Roberts embarked on a statewide storytelling experience focusing on personal stories from both artists and community members. These stories are a form of living oral history.

I create sculptural hairstyles using my natural hair as a material. I add some extensions, and shape it with thread and wire. A sculpture can take me from 30 minutes to more than six hours.

The after-hours special showcase was first tested in January 2024 on the sidelines of the Africa Cup of Nations football tournament hosted and won by Cote d'Ivoire.

Joshua Johnson, born around 1763 in Maryland, was the first Black professional artist in the United States, overcoming the challenges of his early life as an enslaved person.

The Duchamp exhibition at MoMA is encyclopedic, thought-provoking, and sometimes surprising. It spans the entire sixth floor and invites viewers to engage deeply with his work.

The Lower East Side institution's OMA-designed, $82 million expansion debuted this week to mixed reviews, reflecting a range of opinions on its new look and functionality.

Thaddeus Mosley carved wooden sculptures out of logs he salvaged from the Pennsylvania forest, transforming them into art during his spare time, driven by passion.

There is a scene in "Morgenkreis | Morning Circle" (2025), a 16-mm film by Berlin-based Palestinian artist Basma al-Sharif, that unfolds at the threshold of a daycare center. A young boy clings to his father, his fists locked into the fabric of his coat, his arms wrapped tightly around him. The father gently tries to pry himself free while a daycare worker crouches nearby, attempting to distract the child and coax him inside. It is an ordinary moment, one that anyone who has ever been a child - or cared for one - recognizes instantly, as well as the gut-wrenching feeling it provokes.

Although this truism is typically offered as a negative, it can also be read as a positive that provides comfort and stability amid new environments. In I Bring Home with Me, Ghanaian artist Amoako Boafo recreates his Accra studio in an architectural reproduction within Roberts Projects ' Los Angeles gallery. Boafo is known for his stylized portraiture of Black people, whose skin the artist renders in swirling gestures made with his fingers.

According to a BMA spokesperson reached by Hyperallergic, attendance stood at 63,000 as of Monday, February 9, and is expected to peak at 75,000 by the time the show closes on April 5. That makes Sherald's mid-career survey the museum's most-attended show since 2000 - a remarkable feat considering that the BMA was not an original destination on American Sublime's itinerary.

One of the great things about making art is discovering something that sprang from seemingly nowhere. In retrospect it looks logical but in the moment it's an epiphany and suddenly it's exciting to explore it. My studio is across the street from Creative Woodworking and they have a box where they put scrap wood for anyone who wants it and it's irresistible to me.

Stars under the border began with a simple image of people resting together in an open field, but that idea quickly expanded into something more complex, both visually and formally. I kept thinking about aspiration: how it persists beneath systems that try to define or limit us. The title suggests this tension. Stars suggest hope or possibilities existing in an endless veil of darkness, while a border implies a sense of limitation and separation.

"The show is about giving the pen back to the writer, giving the paintbrush back to the artist, during this time of genocide," the Ridikkuluz told Hyperallergic in an interview at the gallery. "And when there's been so much censorship, these are artists that might not have been able to do this anywhere else."

While Armenia has long been recognized for its rich and storied historical art and culture, the country's contemporary art scene is emerging as one to watch on a global scale. Armenian artists stand out for their ability to synthesize their own cultural heritage with avant-garde approaches to contemporary artmaking, bridging tradition with self-expression. Paralleling broader rising critical and market interest and investment in regions outside of the West, ARAR Gallery of Utrecht, the Netherlands, is at the forefront of Armenian art's mounting international presence.

the artist's newest body of work responds to an urgent question precipitated by the catastrophic events of the past year: What does one do when the world collapses? The works attempt to make sense of her experience of the fire and its enduring aftermath, while continuing her exploration of the poetics of loss, displacement, and migration. Kahraman views these works as an offering, a libation, to a burning world.