Bea Huff Hunter

  • picks October 04, 2018

    Leroy Johnson

    Dogs have played a supporting role in human culture since prehistory, serving as partners and protectors at home, work, and war; the unwitting subjects of medical and psychological abuse; and proxies onto whom we project human emotion and behavior. Explicitly drawing on a range of sources—Greek mythology, pop lyrics, biblical descriptions of Armageddon—eighty-one-year-old artist and activist Leroy Johnson focuses on canines in his densely worked and reworked charcoal and mixed-media drawings on view in “Dogs/Walls/Dark Energy.”  

    Five large-scale works on canvas depict the animals

  • Suki Seokyeong Kang

    For her first solo exhibition in a US museum, Seoul-based artist Suki Seokyeong Kang debuted a project centered on historical Korean conceptions of the grid as a spatial and social structuring device. In the traditional Chunaengjeon (Dance of the Spring Oriole) choreography, for example, the borders of the hwamunseok reed mat, with its crosshatched warp and weft, constrain the movements of a solo dancer; in the classical musical notation system jeongganbo, instructions for motion, vocals, and timing are marked inside a grid. In a 2016 conversation with Lili Nishiyama for ArtAsiaPacific, Kang

  • Joy Feasley and Paul Swenbeck

    Philadelphia-based artists Joy Feasley and Paul Swenbeck have been collaborating for thirty-five years alongside their work as museum preparators and as a painter and a sculptor, respectively. Titled after the mysterious lights and colors we see when we close our eyes—and inspired by a dream of Feasley’s—the exhibition “Out, Out, Phosphene Candle” continues their sustained exploration of the diverse scientific and mystic methods humans use to grapple with the unseen. Here, the duo’s works are placed in conversation with loaned works by other artists as well as their own selections from the John

  • picks August 07, 2018

    Chris Corales

    In his 2001 book Papier Machine, Jacques Derrida charts a cultural hierarchy of paper’s many purposes, from “priceless archive, the body of an irreplaceable copy, a letter or painting . . . as support or backing for printing” to, finally, the “throwaway object, the abjection of litter.” Chris Corales’s magpie practice restoratively collages found paper, cardboard, and related detritus into spare, abstract, yet allusive compositions that both reflect and transcend such teleological categories.

    Many of the modestly sized works in this concise memorial exhibition, “A Passer-By in His Own Moment,”