Art & Exhibitions

Hi, Barbie! See Inside the Design Museum’s New Show Dedicated to the Iconic Doll More

There’s More to Rome Than Ancient History. Check Out These Must-See Contemporary Gems More

Night at the Museum—Literally: Carsten Höller Invites You to a Sleepover More

The Story Behind a Rare 19th-Century Portrait of a Person of Color Emerges More

Did LACMA Show ‘Fake’ Korean Paintings? Experts Say Yes More

A Former School in Upstate New York Is Now a Sprawling Arts Venue More

A museum exhibition opening in the nation’s capital this summer explores the ways that Black artists use the century-old medium of collage to treat subjects ranging from national heritage to sexual orientation, from notions of beauty to fragmentation and reconstruction. 
“Multiplicity: Blackness in Contemporary American Collage” is billed as the first major museum exhibition devoted to contemporary collage and exploring the wide range of Black experience and identity in the U.S.
Paul Anthony Smith, The Tales of Tourism (2022-2023). Courtesy of the artist and Jack Shainman Gallery, © Paul Anthony Smith.
Taking place at the Phillips Collection, in Washington, D.C., it comprises more than 60 works by a multigenerational cohort of some 45 artists. The show was organized by the Frist Art Museum, in Nashville, Tennessee.
Derek Fordjour, Airborne Double (2022). Courtesy of the artist, David Kordansky Gallery, and Petzel Gallery. Photo: Daniel Greer. © Derek Fordjour.
“Multiplicity” includes a pantheon of stars including Sanford Biggers, Mark Bradford, Njideka Akunyili Crosby, Lauren Halsey, Rashid Johnson, Kerry James Marshall, Wangechi Mutu, Howardena Pindell, Lorna Simpson, Mickalene Thomas, and Kara Walker. 
Lester Julian Merriweather, Moment (from #BetterGardensAndJungles) (2017). Courtesy of the artist, © Lester Julian Merriweather.
“Twenty-first-century collage is an arguably understudied and undervalued medium, especially in museum exhibitions,” explained Katie Delmez, senior curator at the Frist Art Museum and the exhibition’s curator. “‘Multiplicity’ is an opportunity to spotlight the formal complexity and vibrancy of the technique and to assert its contributions to the field through the lens of some of today’s leading artists.”
Kara Walker, Divining Rod (2007). Courtesy Sikkema Jenkins & Co., © Kara Walker.
Collage originated with French Cubists and German Dada artists a century ago, and the tradition has been taken up in innovative ways by African-American artists such as Romare Bearden, David C. Driskell, Jacob Lawrence, and Faith Ringgold. Some of the artists in “Multiplicity,” like Mutu and Deborah Roberts, principally work in collage, while it’s just a part of the practice of many of the others. 
Howardena Pindell, Untitled #3C (2009). Courtesy of the artist and Garth Greenan Gallery, © Howardena Pindell.
“The exhibition asserts that collage parallels how identity is constructed with a multitude of elements that create a singular whole,” said Adrienne L. Childs, senior consulting curator at the Phillips Collection and organizing curator for the presentation in Washington. “The process of merging form and content aptly represents Black life. The artists create multifaceted works through the meaningful use of objects from their own lives that reflect their experiences and concerns.”
Lorna Simpson, 4 Walls (2023). Courtesy of the artist and Hauser & Wirth, © Lorna Simpson.
A catalog further explores some of the ideas in the exhibition and includes essays by contributors such as UCLA African art assistant professor Tiffany Barber, Boston University art historian emerita Patricia Hills, Virginia Museum of Fine Arts curator Valerie Cassel Oliver, and Duke University art historian Richard J. Powell.
“Multiplicity: Blackness in Contemporary American Collage” will be on view at the Phillips Collection, 1600 21st Street, NW, Washington, D.C.m July 6–September 22.
Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More

Amid the bustle of the Los Angeles International Airport, travelers can’t be faulted for missing an exhibition of works by the region’s most prominent artists. “Luminaries of Light & Space” celebrates the loose group of West Coast artists who, beginning in the 1960s, sought to expand perceptual experiences through light, color, and volume.
On view since 2022, the show features works by artists including Peter Alexander, Larry Bell, Gisela Colón, Laddie John Dill, Fred Eversley, John McCracken, Helen Pashgian, Hap Tivey, and DeWain Valentine. A singular highlight is Light + Shadow + Reflection + Color (#3 x 6’ D Four Fold) (2016), one of the last projects by the late Robert Irwin, an installation of his signature fluorescent lights.
Robert Irwin, Light + Shadow + Reflection + Color (#3 x 6’ D Four Fold) (2016). Photo: SKA Studios, LLC, courtesy of Los Angeles World Airports.
For Laura Whitcomb, who curated the show, LAX serves as a fitting venue for the show because of the ties between Light and Space artists and the aerospace industry. Eversley, Bell, Tivey, Dill, Colón, and Turrell were all children of chemists, physicists, and aerospace designers.
Peter Alexander, Pyramid (1969). Photo: SKA Studios, LLC, courtesy of Los Angeles World Airports.
“While the artists of the Light & Space Movement explored innovations of materiality forged by the aerospace industry in the 20th century, this installation extends the story of the movement into a new generation of creatives using sustainable materials and renewable energy,” reads the exhibition’s description.
Hap Tivey, Flame (2021). Photo: SKA Studios, LLC, courtesy of Los Angeles World Airports.
The show was scheduled to run through November 2025, but plans are underway to extend it ahead of the 2028 Olympics, set to be held in L.A. It’s the first cultural installment of “many” planned to enhance flying experience at LAX ahead of the Olympics.
In fact, at the center of the exhibition is a commission titled Torch by Hap Tivey, which already echoes the Olympic flame that traditionally opens every iteration of the games. Whitcomb called it the “stabilizing anchor” of the show, “signifying the center of a futuristic altar where all faiths come together through the language of geometry.”
Installation view of “Luminaries in Light and Space.” Photo: SKA Studios, LLC, courtesy of Los Angeles World Airports.
Investing in public art is a big boon for airports. In fact, in a document from the Airports Council International notes that such dedication to public art can be seeded by local ordinances requiring a certain percentage of construction budget to be dedicated to art.
According to Whitcomb, “millions of passengers” have already seen the works on view in the 60-foot-long installation, which is presented with an auditory component produced by Dublab called Orchestrina, featuring 30 L.A. composers.
“By presenting Light & Space on a global stage, the installation underscores Los Angeles’s commitment to showcasing local artistic achievements to a worldwide audience,” Whitcomb said.
Follow Artnet News on Facebook: Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward. More