Amanda Dalla Villa Adams

  • picks June 13, 2018


    This museum's inaugural group exhibition, “Declaration,” is a weighty one, taking on issues surrounding community activism, gun violence, race, marginalized voices, land rights, and the environment. While local or of-the-moment artists such as Titus Kaphar seem logical to include, the parameters for inclusion in the show are otherwise opaque. Still, the works seem tethered to the ethos of Richmond, a city with a Janus-faced reputation in which outsiders see its history as the capital of the Confederacy rather than its status as a progressively minded art town.

    Yet rather than endeavor to only

  • picks March 26, 2018

    Sally Mann

    Land, domesticity, race, and identity converge in this survey of 109 photographs from the past forty years of Sally Mann’s career. Though it excludes the first decade of her output, writ large, the exhibition broadly addresses the culture and troubled history of the American South. Featured here is the infamous series “Family Pictures”—predominately images of her children taken roughly between 1984 and 1993—including the never-before-seen photograph On the Maury, 1992; landscapes of Virginia, Mississippi, and Georgia from the 1998 “Deep South” series; the nine ambrotypes of Untitled (Self-Portrait)

  • picks September 18, 2017

    Bethany Collins

    For her latest exhibition, “Of a Piece,” Chicago-based artist Bethany Collins is presenting only two works: Between Green and Violet, 2014–15, and America: A Hymnal, 2017. The former features twenty-nine words and their definitions hung in individual white frames, and the latter is a book of one hundred variations of My Country ’Tis of Thee (1831), a song used for causes ranging from abolition to the Confederacy.

    Throughout the show, Collins examines the evolving intersection between the English language and meaning as it relates to American cultural memory. For Between Green and Violet, Collins

  • picks December 14, 2015

    Luc Tuymans

    Luc Tuymans is known for his muted color palette and cloudy representations of distorted photographic images, and his retrospective “Intolerance” is a dialectic of contrasts, further underscored by its display in the Gulf Region within a space that resembles a Western-style urban converted warehouse. Curated by Lynne Cooke, the exhibition is made up of nearly two hundred paintings and drawings from almost four decades and lit by expansive natural skylights in the main space. The back of the museum features three dark-gray rooms showcasing his works from the 1970s and ’80s, including two

  • picks July 01, 2015


    “Social,” a group exhibition of Charlotte Potter’s glass cameos, Ariel Brice’s ceramics, and Lucy Louise Derickson’s repurposed pewter, asks the viewer to reconsider communication and relationships in the digital world. For example, Potter’s wall installation Message Received, 2015, is a series of cameo lockets and pendants that each open to reveal a text or a Facebook message between the artist and a former boyfriend, all connected by a looping metal-chain. The narrative follows the rise and fall of most romantic relationships, first stilted and formal, becoming more candid, followed by

  • picks May 21, 2015

    Daniel Leivick

    Daniel Leivick’s exhibition underscores the necessity of seeing photographs in person. Offering richly composed aerial photocollages that allude to cartography, systemization, and early twentieth-century abstraction, these sixteen photographs maintain at their core a uniquely physical presence. Posed between fact and fiction, Leivick’s digitally altered pigment prints construct grand-scale narratives loosely tied to the history of the ancient Egyptian city Heliopolis. Leivick uses this site as a metaphor for broader ideas about culture, time, and myth in order to critique peoples’ relationship

  • picks April 23, 2015

    Amy Feldman

    New York–based artist Amy Feldman’s exhibition “Mirror Cool” features four large paintings in two colors: cool gray pigment against stark white canvas. Each work is a 6.5-foot square canvas, but the painted images—bubbling rectangles in Mock Zero or cartoonish biomorphic shapes in I Is for Idiot, both 2015—emphasize verticality. Feldman, who works from preparatory sketches, quickly completes each painting in one sitting: the gestural brushstrokes, dripping paint, and swooping lines that compose the simple subjects underscore the sense of motion and speed.

    Although these are new works, Feldman

  • picks April 18, 2014

    Susie Ganch

    Ethical metalworking, sustainability, and recycled detritus figure prominently in Richmond-based Susie Ganch’s two-part exhibition. “Susie Ganch: Tied” offers independent work while the Radical Jewelry Makeover project, founded by Ganch in 2007 as an outreach program of the nonprofit Ethical Metalsmiths, presents a collaborative endeavor that repurposes unwanted jewelry.

    Although separate practices, both allow Ganch to highlight the discarded and unwanted, ranging from everyday things to gold and diamonds. For her own work, she achieves this by magnifying scale through accumulation and using

  • picks January 22, 2014

    Siemon Allen

    South African–born, US-based artist Siemon Allen’s current solo show, succinctly titled “Exhibition,” explores the mental space devoted to creating a work, the interlocution between the idea and the execution of a piece, and the transition between studio and exhibition site. By highlighting these concepts of the “in-between” and probing the mass-produced, Allen privileges the overlooked as he explores issues of identity through displacement.

    Studio, 2014, a flatbed-scanned digital print of his studio floor, is placed on a slightly raised platform, with different elevations at various points,