Impressionist painter Berthe Morisot was born today, January 14th, in 1841. She was part of a circle of artists that made up the Parisian avant-garde, including Edgar Degas, Pierre-Auguste Renoir, and Édouard Manet (she married his younger brother).
The oil painting pictured above, Reading (La Lecture), 1888, is on view at Museum of Fine Arts, St. Petersburg in Florida.
Portraits by Carrie Ann Baade
Reclaim | Reframe: Datasets and Cultural Visibility, is one of three exhibitions that make up The Delaware Contemporary’s 2025 Biennial- Art + AI. The timely show features work by Carrie Ann Baade, Tyanna Buie, Blažo Kovačević, and Tara Youngborg.
From the museum–
Through AI and computational technologies, artists Carrie Ann Baade, Tyanna Buie, Blažo Kovačević, and Tara Youngborg construct layered narratives that reclaim overlooked and marginalized histories. In doing so, these artists unsettle dominant cultural and media frameworks that have long erased, distorted, or commodified lived experience. Exploring themes of identity, ancestry, and displacement, they use generative tools as critical instruments to question, expose, and reconfigure the archival and institutional biases embedded in history, culture, and the environment. From ancestral reclamation and speculative futures to immersive storytelling and data-driven environmental translations, their work advances a reimagining of social justice through the lens of artificial intelligence.
Together, these artists offer a complex portrait of making in the age of AI, revealing how tools shaped by those in power can both perpetuate bias and enable resistance. Their work asks: Who shapes the cultural record? When an AI model “remembers,” whose truth is it repeating? How can we reclaim agency within these systems (built on our collective labor)?
The images at the beginning of this post are from Carrie Anne Baade’s series, Birthplace. Her mixed media portraits of her ancestors, created with the help of AI, present a fascinating look at the stories of several women from early in American history.
From Baade’s statement about the work-
Birthplace is a visual exploration of personal ancestry, delving into the lives of women from colonial Louisiana between 1690 and 1750. Through oil painting, collage, and Al-generated imagery, I reconstruct the presence of these women-figures shaped by French colonial rule, Indigenous displacement, and Romani migration-whose stories have been largely absent from recorded history. Employing a methodology that blends archival research with imaginative storytelling, I create portraits that serve as visual hypotheses-acts of artistic and ancestral repair. The compositions incorporate antique lace, colonial maps, domestic fabrics, and found objects, mirroring the intertwined textures of lineage, migration, and identity. Al-generated image blending aids in synthesizing historically plausible references, speculating on the appearance and presence of women who were never visually recorded.
This project is not about one family, but a shared American inheritance. It reveals the complexity of identity in a land shaped by colonization, migration, and erasure. In rematriating these women to history, Birthplace offers viewers a visual counter-history-one rooted in survival, interconnection, and the enduring power of maternal lineage.
Pictured below are works from the other artists in the exhibition along with information provided by the museum.
Tara Youngborg examines how institutional data and machine learning shape our understanding of land and environment. Using field research, environmental archives, and US Geological Survey datasets, her datastream translates waterflow data and topographic maps into immersive video installations that highlight the limitations of digital representation. By transforming statistics into layered, shifting media, Youngborg portrays landscapes as dynamic terrains of knowledge. Glitches and ruptures in the work expose gaps between digital abstraction and lived experience, prompting questions about algorithmic authority and what is lost when place is reduced to data.
Tara Youngborg’s installation
Tara Youngborg’s installation (detail)
In AR (Argumentative Reality) and Truck for Three Illegal Passengers, Blažo Kovačević uses augmented reality, 3D modeling, and game engine software to confront invasive state surveillance and the dehumanization of migrants. Using digitally enhanced X-ray images from European Border Patrol inspections, he reconstructs a 2015 tragedy in Serbia where 54 undocumented passengers died in a van crash. His works shift between detached aerial views and intimate interior scans, altering typical media frames into ethical engagement. Kovačević warns how AI-driven technologies can perpetuate oppression through automated surveillance, data collection, and erasure, urging reflection on the politics of visibility and mediated violence.
A still from Blažo Kovačević’s video
Tyanna Buie reconstructs erased family histories and reimagines Black identity through speculative Afro-Futurist frameworks. Using ChatGPT and DeepFake technology, she remixes images, sound, and text to create narratives where absence becomes presence. In The Guardians of Nyala, Buie overlays her own likeness onto eighteenth-century Dutch dignitary portraits, then collaborates with AI to imagine a family history untouched by colonization. Rooted in personal narrative and Black popular culture, her counter-archive elevates erased lives and transforms AI from a tool of replication into one of radical self-authorship.
Two of the portraits from Tyanna Buie’s “The Guardians of Nyala”
This exhibition closes 12/28/25.
Sasha Gordon‘s two billboards- My Love of Upholstery (2024) and Untitled (2024), are currently on view from the High Line in NYC.
From the High Line website about the work-
Sasha Gordon creates surreal paintings and drawings that explore themes of sexuality, gender, race, and the body. Often depicting herself as subject, Gordon is keenly attuned to art historical themes of portraiture and self-portraiture, and of the politics of representation. She approaches these categories with inventiveness and humor, using the uncanny to communicate very real concerns around self-image and identity.
For the High Line – Moynihan Connector Billboard, Gordon presents two works, My Love of Upholstery (2024) and Untitled (2024). Both hail from the artist’s most recent body of work, in which she examines challenging taboos and standards of representation. Her images present a wide range of emotional states, frequently considered through the lens of her identity as a queer Asian American woman. Through endless avatars, she portrays the othering of unconventional human bodies and her own experiences of alienation. Towering over 30th Street and Dyer Avenue, the artist’s fluctuating visage appears at massive scale, marked by a distinct unnaturalness—in My Love of Upholstery, where she depicts herself with a Pinocchio-like wood-grain body, and in Untitled, in which her face and pupils are marked with five-pointed stars. These visions are simultaneously anxious and intimate, teetering somewhere between tender fantasy and nightmare. Her avatars, looming large within their frames, offer both artist and audience an outlet for exploring contradictory emotions and complex personal experiences.
(photograph by Richard Avedon from The New Yorker’s website)
Above is Richard Avedon’s portrait of Martin Luther King Jr. with his father, Martin Luther King, and his son, Martin Luther King III, 1963. The image is part of the 1964 book Nothing Personal, Avedon’s collaboration with writer James Baldwin.
Frank Weston Benson, “Natalie”, 1917, Oil on canvas
Childe Hassam, “Gathering Flowers in a French Garden”, 1888, Oil on canvas
Luther Emerson Van Gorder, “In the Park”, before 1894, Oil on canvas
Tampa Museum of Art’s current exhibition, Frontiers of Impressionism: Paintings from the Worcester Art Museum, features paintings by American and European impressionists and is a lovely reminder of the extraordinary works these artists created during this time period. The enduring popularity of the impressionists throughout the years makes sense when walking among these paintings. The use of color and brush work, as well as the details and beauty of the subject matter (not to mention the wealth and comfort often depicted)- make the viewer feel like they are being transported through time to the artist’s idyllic world.
From the museum-
In 2024, the term “impressionism” celebrates its 150th anniversary. Such a significant occasion inspires reflection on the profound impact that a relatively small group of artists in Paris made by positing a new mode of painting: one that favored painting outdoors over in a studio, immediacy over planning, the everyday over the grand, and the fleeting over the eternal. In doing so, the impressionists upended centuries of traditions in European art. This exhibition explores the radical impulses behind impressionism and its seemingly endless adaptability, as artists from around the world came to Paris to study and returned to their homelands, assimilating what they had absorbed and propelling the movement further.
The Worcester Art Museum pioneered new artistic horizons by embracing impressionism early in its history. The French and American impressionism collections at the Worcester Art Museum have long drawn visitors to the galleries. The first directors purchased works by Monet from his Parisian dealer, Durand-Ruel, as well as directly from American impressionists, making the Museum one of the first in the United States to collect impressionism actively as contemporary art. Over the past 125 years, this collection has grown, encapsulating the story of the movement’s roots and emergence in France and its subsequent expansion to the United States, Germany, Scandinavia, and beyond. Highlighting more than 30 artists, including Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, Mary Cassatt, Childe Hassam, and Max Slevogt, this exhibition demonstrates impressionism’s international allure, captured in subjects as far-flung as Monet’s famed Giverny lily pond to the natural wonders of the Grand Canyon.
Below are a few more selections from the show.
Max Slevogt, “Selbstbildnis im Garten (A Self-Portrait in the Garden at Godgramstein), 1910, Oil on canvas
Max Slevogt, “Selbstbildnis im Garten (A Self-Portrait in the Garden at Godgramstein), 1910, Oil on canvas (detail)
Paul Signac, “Golfe Juan”, 1896, Oil on canvas
Thomas Cole, “View on the Arno, near Florence”, 1837, Oil on canvas
Lovis Corinth, “Vordem Spiegel (At the Mirror)”, 1912, Oil on canvas
John Singer Sargent, “Katherine Chase Pratt”, 1890, Oil on canvas
About the unfinished painting above (from the museum)-
A successful society portraitist, Sargent painted the elite from his international social circles. In June 1890, Sargent visited Worcester, Massachusetts, where he was inundated by requests for portraits. The sitter’s father, Frederick Pratt, a noted collector and eventual acting director of the Worcester Art Museum (1908 and 1917), became friends with the artist and invited him to return a few months later to paint his daughter, Katherine- although the idea for Katherine’s portrait originated in Sargent’s first trip to Worcester, when he had made a sketch of hydrangeas. Sargent’s vision of Katherine against a backdrop of flowers, however, proved less than satisfactory for his client and he abandoned the painting for another, more formal depiction. As an unfinished work, this painting reveals the immediacy of Sargent’s process, with careful attention to broad swaths of color and patterns in the brushwork to convey flower petals or folds of clothing.
This exhibition will be on view until 1/7/2024.
Alison Elizabeth Taylor, “Anthony Cuts under the Williamsburg Bridge, Morning”, 2020 Marquetry hybrid (wood veneers, oil paint, acrylic paint, inkjet prints, shellac, and sawdust on wood)
Currently at Orlando Museum of Art is The Outwin: American Portraiture Today, an impressive collection of work in a variety of mediums.
From the museum’s website-
Launched in 2006 to support the next wave of contemporary portraiture in the United States, the National Portrait Gallery’s celebrated triennial Outwin Boochever Portrait Competition is a major survey of the best American portraiture selected by internationally prominent jurors and curators. Now in its sixth edition, The Outwin: American Portraiture Today presents 42 works selected from over 2,700 entries, that foreground the vibrancy and relevance of portraiture today. In addition to paintings, photographs, drawings, and sculptures, The Outwin includes video, performance art, and textiles, highlighting the limitless possibilities of contemporary portraiture.
Open to both emerging and established artists, this year’s entrants were encouraged to submit work that moves beyond traditional definitions of portraiture, and to explore a portrait’s ability to engage with the social and political landscape of our time. The variety of media and subjects featured in the exhibition invite audiences of all backgrounds to find relation in the human experience.
Since its inception, finalists for the exhibition have been determined by a panel of jurors including three Portrait Gallery staff members and four external professionals (critics, art historians, artists). The competition is endowed by and named for Virginia Outwin Boochever (1920 – 2005) who, for 19 years, volunteered as a docent at the Portrait Gallery. Her commitment to advancing the art of portraiture is continued through the support of her children.
Below are a selection of works from the show and information about them from the museum.
Alison Elizabeth Taylor– Anthony Cuts under the Williamsburg Bridge, Morning, 2020 (pictured above)
On walks around her Brooklyn neighborhood during the COVID-19 lockdowns, Alison Elizabeth Taylor encountered the hair groomer Anthony Payne, who,with his workplace shuttered, had taken his scissors, mirror, and chair to the streets. Payne sought to financially support the Black Lives Matter movement, especially in the aftermath of George Floyd’s murder, and turned over proceeds from his donation-based haircuts to organizations advocating for social justice.
Taylor’s process, one she developed and named “marquetry hybrid,” incorporates vivid paints, inkjet prints, and the natural grains of over one hundred veneers. Marquetry, with its inlaid combination of woods, can “memorialize,” Taylor notes. She acknowledges the history of the craft, which was favored by Louis XIV (1654-1715) when he was acquiring furniture for Versailles. By giving Payne this “royal treatment,” Taylor aims to pay tribute to him.”I want him to see how much his example meant to me,” she explained.
Kira Nam Greene, “Kyung’s Gift in Pojagi (From the series “Women in Possession of Good Fortune”)”, 2019 Oil, gouache, colored pencil, and acrylic ink on canvas
Kira Nam Greene– Kyung’s Gift in Pojagi (From the series “Women in Possession of Good Fortune”), 2019
In this mixed-media work, by Kira Nam Greene, the artist Kyung Jeon faces us with relaxed self-assurance. She is carefully positioned on her couch as her long black hair falls over her orange and turquoise tunic. In the foreground, a wooden cylinder containing paint brushes reveals her medium of choice. A plate with persimmons, consumed during the harvest festival Chuseok to celebrate good fortune, brims with potential while the rest of the painting pulsates with action.
Greene situates her friend in a fantasy world that echoes Jeon’s artwork and their mutual interest in the traditional Korean fabric quilting technique of pojagi. Two rabbits, representing Jeon’s Chinese zodiac, appear to be concocting a potion. Flowers sprout as kaleidoscopic patterns envelop her. The reference to pojagi, the visible paint drips in the background painting, and the hands of the sitter- left unfinished- invoke the role of tradition, process, and exploration in artmaking.
Stuart Robertson, “Self Portrait of the Artist” from the “Out and Bad” series, 2020, Aluminum, earth, acrylic paint, enamel, paper,metallic bubble wrap, sequins, and gold foil on wood
Stuart Robertson– Self Portrait of the Artist from the Out and Bad series, 2020
“In my world, skin is high-tech, amorphous, and armored,” the artist Stuart Robertson observes. “Blackness is percussive, lustrous, flexible, and indestructible.” Self-Portrait of the Artist depicts a fragment of a man- half of his face and his upper torso-shiny and monumental. A black beard delineates his jaw, and a small gold hoop adorns his ear. Although the figure is cropped beyond recognition, the work’s title provides a clue.
Through the alternation of flat and repoussé aluminum sheets, Robertson achieves a hypnotic effect, a poignant tension playing on what he reveals or hides from us viewers. His refusal to depict his entire face or figure challenges the notion of what a portrait should be and blocks the objectification of the Black male body, so often sexualized in visual culture. Simultaneously, Robertson delivers an irrepressible, resplendent image of that body, one inspired by the aesthetics of Jamaica’s dancehall culture.
Vincent Valdez, “People of the Sun (Grandma and Grandpa Santana)”, 2019, Oil on canvas
Vincent Valdez– People of the Sun (Grandma and Grandpa Santana), 2019
An elderly couple faces us with the gentle authority that old age provides. People of the Sun (Grandma and Grandpa Santana) is a portrait of Vincent Valdez’s maternal grandparents. “My grandparents spent most of their time outside,” the artist recalled. “Grandpa spent his entire life working under the blazing Texas sun as a carpenter and yard worker, cutting lawns in the wealthy communities of San Antonio right up until he passed away. Grandma was constantly working with her hands–raising kids, washing, sewing clothes, and tending the plants in her yard.”
The Santanas are depicted in a space defined by details the artist remembers: their vintage AM radio, their plants, their homemade clothes. The bedsheet, like the Virgen de Guadalupe’s aura, signals their spiritual role in the family. This portrait connects the pair to the Indigenous and mestizo cultures of the American Southwest, including the Aztec and Maya, who honored the sun.
For more work from the exhibition, please head to page 2.
“Bryson Funmaker”, 2020, Inkjet print and beadwork
The Museum of Fine Arts St. Petersburg is currently showing an impressive collection of work from photographer Tom Jones. The photos, in multiple series, focus on Native American identity, history, cultural appropriation, and the Ho-Chunk Nation of Wisconsin, of which Jones is a member. The work engages visually while also being informative.
From the museum’s press release for Tom Jones: Here We Stand–
For over twenty years, Tom Jones has created a visual record and exploration of his Ho-Chunk community. Born in North Carolina and raised in Orlando after a short stint in Minneapolis, Jones returned to the Midwest, moving to Wisconsin at age 15. He then made his way to Chicago for graduate school at Columbia College. Jones’s father worked with Kodak and owned a photography lab, helping shape the artist’s understanding of the practical aspects of photography from an early age. During graduate school, Jones began an ongoing photographic essay on the contemporary life of his Ho-Chunk community, beginning first with the elders.
The show comprises over a dozen series, ranging from the documentary to the conceptual. Of his series on Veterans’ memorials at the annual Black River Falls Pow-Wow, Jones says, “I was interested in the way families made very conscious decisions about how they want their loved ones memorialized.” Other series include the emotionally intimate, though larger than life, beaded portraits. “Beading is a metaphor for our ancestors watching over us. I am also referencing an experience I had when I was about 8 or 9 years old. My mother took me to see a Sioux medicine man named Robert Stead. He led the call to the spirits, the women began to sing, and the ancestors appeared as orbs of light. This event inspired the series Strong Unrelenting Spirits.“
Jones’s photographs examine identity and geographic place with an emphasis on the experience of Native American communities. He is interested in how American Indian material culture is portrayed through commodification and popular culture. Much of his work counteracts and corrects decades of misinformation and misrepresentation of American Indians, particularly targeting the field of U.S. history. Jones’s critical assessment of the romanticized representation of Native peoples in photography re-examines historic pictures taken by white photographers. This reassessment questions the assumptions about identity within the American Indian culture by non-natives and natives alike. “While each of Jones’s series is distinctly different, the message remains consistent: the Ho-Chunk are not vanishing or frozen in time,” said Dr. Jane Aspinwall, Senior Curator of Photography. “Jones’s photographs emphasize a solid, generational commitment to family, tribal community, and land. His photographs reclaim appropriated images and set the historical record straight.”
Below are a some selections from a few of the series in the exhibition.
“Trenton and Roger Littlegeorge”, 2011
“Dorothy Crowfeather”, 1999
“Dear America” series
About the Dear America series pictured above-
Using each line from the first two verses of the song, America (“My Country Tis of Thee”) as the title of fourteen of the works in the Dear America series, Jones questions whose history is being propagated here. With dry wit and an unfailing commitment to truth, Jones exposes atrocities like the massive effort by the U.S. government to assimilate Native American children to non-Native culture, the merciless seizing of Native lands, and the mass hanging of thirty-eight Sioux and Ho-Chunk men under President Lincoln in 1862. He also highlights Native American identity in relation to cowboy culture, the thoughtless misappropriation of Native American customs, and the influence of the Iroquois Confederacy on the U. S. Constitution. Jones’s aim is to broaden the “traditional” historical American narrative to be more representative of all people, especially the original inhabitants of this land.
About the Ho-Chunk Veterans Memorials, pictured above-
“I wanted to do this photographic essay to honor our veterans… One in four American Indian males is a United States veteran. Ho-Chunks have fought in every war for the United States except for the War of 1812. The Ho-Chunks did this even though they were not granted the right to vote until 1924, and during the Indian Removal Act, were removed at least seven times from Wisconsin by the United States government. This is the conviction we have as a people… I honor these people who give of themselves freely to protect this land. Traditionally, Ho-Chunks are taught to live their lives for the betterment of others. The veterans have done this.’
-Tom Jones
From Jones’ “”Native” Commodity” series
About the “Native” Commodity” series-
The Wisconsin Dells, one of the most popular tourist destinations in the state, is home to spectacular natural scenery and the largest concentration of waterparks. Located on Ho-Chunk ancestral land, the area is now highly commercialized, with much of its identity resting on the appropriation of Native American stereotypical tropes. In this series, Jones documented this unabashed use of Native American symbols, images, and place names in advertising and popular culture. The sale of “Native American” crafts made in China, the liberal use of names of historically important figures like Black Hawk, and the indiscriminate mix of tribal communities into one conglomerate-tipis from the Plains next to totem poles from the Pacific Northwest next to Pueblo pottery. The Dells serve as a microcosm for how images of Native Americans are reproduced and reframed into a collective memory that is often distorted. Jones wryly noted that none of the Native American objects feature anything specifically attributable to the Ho-Chunk Nation.
This exhibition has been extended until 9/10/23.
Closing on 4/22/23 is Amoako Boafo’s exhibition, what could possibly go wrong, if we tell it like it is, at Gagosian gallery’s Madison Avenue location.
From the press release-
When I’m making paintings, I want the characters to be strong, I want them to be free, I want them to be independent, I want them to be unapologetic.
—Amoako Boafo
Boafo’s large-scale portraits portray his friends and those he admires with candor, joy, and individuality. Focused on Black identity, his monumental paintings have already become key works in the representation of contemporary Africa and the African diaspora.
Boafo paints the faces and bodies of his subjects with his fingertips rather than a brush, the directness of his touch enhancing their expressive qualities. The works’ surfaces feature a gestural facture which the artist uses to model the figures’ anatomy. Making eye contact, Boafo’s subjects return the gaze of the viewer in an assertion of presence and identity, reflecting the artist’s interest in conveying charisma and individuality. The characters occupy domestic interiors, their casual grace reinforced by the familiarity of these settings.
Artist Alex Katz created this mural, Bill 2, a portrait of modern dancer and choreographer Bill T. Jones, in 2019 for Murals of La Jolla in San Diego. Murals of La Jolla is a project started in 2010 by The Athenaeum and the La Jolla Community Foundation. It commissions artists to create work to be displayed on buildings around La Jolla. A map of all the murals currently on view can be found here.
From the Murals of La Jolla website about the work-
Alex Katz’s mural, Bill 2, celebrates Bill T. Jones, one of the most noted and recognized modern-dance choreographers of our time. Executed in Katz’s bold and simplified signature style, Bill 2 depicts Jones’ visage, through a series of distinct expressions. The repetition of his face has a cinematic and lyrical quality, reinforcing his place in the world of dance, music and film. Portions of the face are dramatically cropped, giving the viewer only quick and gestural glimpses of Jones. Bill 2, is a striking homage to two artists, Katz and Jones, both renowned in their respective fields of visual and performing arts. The mural’s proximity to the new Conrad Prebys Performing Arts Center gives a nod to the interconnected worlds of art, music, and dance.
The Guggenheim museum in NYC is currently showing Alex Katz: Gathering, a retrospective of the artist’s work from the late 1940’s until the present. The exhibition will be up until February 20, 2023.
From their website about the exhibition-
Emerging as an artist in the mid-20th century, Katz forged a mode of figurative painting that fused the energy of Abstract Expressionist canvases with the American vernaculars of the magazine, billboard, and movie screen. Throughout his practice, he has turned to his surroundings in downtown New York City and coastal Maine as his primary subject matter, documenting an evolving community of poets, artists, critics, dancers, and filmmakers who have animated the cultural avant-garde from the postwar period to the present.
Staged in the city where Katz has lived and worked his entire life, and prepared with the close collaboration of the artist, this retrospective will fill the museum’s Frank Lloyd Wright rotunda. Encompassing paintings, oil sketches, collages, drawings, prints, and freestanding “cutout” works, the exhibition will begin with the artist’s intimate sketches of riders on the New York City subway from the late 1940s and will culminate in the rapturous, immersive landscapes that have dominated his output in recent years.
Bill T. Jones/Arnie Zane Company has numerous performances every year. Conceived and directed by Bill T. Jones, and choreographed by Jones with Janet Wong and the Bill T. Jones/Arnie Zane Company, the latest work, Curriculum II, will be performed at on March 10, 11, and 12, at the Institute of Contemporary Art Boston.
Jones also hosts the series Bill Chats at NYC’s The New School. On January 30th, he will be in conversation with Bessie Award-winning theater director and performance artist, Niegel Smith and curator, producer, and director, Kamilah Forbes. For more events check out the New York Live Arts calendar.
