At the Mint Museum Randolph in Charlotte, “Designing Dynamism: Kuba Textiles from the Democratic Republic of Congo, The Wesley Mancini Collection” unfolds with a quiet confidence that does not demand attention all at once, but instead gently draws you in, asking only that you slow your pace and allow the experience to reveal itself over time.
In Laszlo and Lucia (1922), László Moholy-Nagy portrays an intimate style of contrast stemming from the imagination of the Bauhaus collective, and at first glance the image feels haunting in its simplicity with two profiles emerging from darkness and light, locked in a quiet tension where one face glows almost to dissolution while the other is absorbed by shadow.
In Siblings (1930), Paul Klee channels the dreamlike language of Surrealism into a tender and abstract meditation on human connection.
Jeremy Okai Davis’ Fred’s Legacy does more than pay homage to an iconic sitcom character, it quietly invites viewers to consider how art, identity, and accessibility intersect across generations.
Henry Ossawa Tanner’s Portrait of the Artist’s Mother (1897) is a tender yet powerful work, rendered with remarkable delicacy and emotional depth.
As Davidson College continues to reckon publicly with its historical ties to enslavement and racial exploitation, few people have been as closely involved in shaping that work as Lia Newman.
On a quiet stretch of green just off Main Street, where town and campus meet, two monumental hands rise from the earth – open, cupped, and facing one another. They do not grasp or point. Instead, they hold space.
Simone Elizabeth Saunders’ She Holds the Key is a powerful tribute to Serena Williams, capturing her immense strength while honoring her undeniable grace.
At first glance, joy gathers in Ramsome’s The Curse of Ham.
Recently on view at the Van Every/Smith Galleries at Davidson College, Hank Willis Thomas’ We The People was a visually arresting exhibition that paired formal rigor with conceptual urgency
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