From the initial announcement of curators, to interviewing them about their plans, to individual reviews of specific installations, CAN Journal and CAN Blog have extensively covered the 2022 FRONT Cleveland International Triennial for Contemporary Art. To make it easy to get an overview, we’ve gathered all our coverage here, with links to full posts and stories.
In the Summer 2022 issue of CAN Journal, Brittany Mariel Hudak interviewed FRONT Artistic Director Prem Krishnamurthy and curator Annie Wischmeyer about their curatorial strategies, inspirations, and what we can expect for FRONT 2022.
Music hath charms to soothe the savage breast, and it plays a significant role in several installations in the 2022 FRONT Triennial. Michael Gill considers how that played out in Asad Raza’s maritime performance Delegation, Cory Arcangel’s Hail Mary at the Church of the Covenant, and Jace Clayton’s BYOM (Bring Your Own Music) installation at the Cleveland Public Library, 40 Part Part.
Jo Steigerwald considers an unsigned contract, the power of culture to protect against real-world barbarism, and associated questions while visiting Ahmet Ogut’s installation, Bakunin’s Barricade, at the Allen Memorial Art Museum in Oberlin
University of Chicago student Dallas Knox visited FRONT installations at MOCA and the Cleveland Institute of Art while in Cleveland for the 2022 Summer on the Cuyahoga internship program.
Jo Steigerwald explores extroaordinary works by painter Alexandria Couch, as well as pieces by media artist and composer Joe Namy, and video artist Tony Cokes–the FRONT installations at FAVA’s galleries in the New Union Center for the Arts building at 39 S. Main Street, Oberlin.
Grace Carter interviews FRONT podcast co-host Dr. Lady J. “Upon realizing [certain]gaps in the field of drag history, Dr. Lady J embarked on writing her PhD dissertation.” … “Things are a lot more complicated than they seem,” the doctor said.
In his farewell ramble through the Cleveland Museum of Art, writer Luke Frazier found his way to the Glass Box gallery (#218) and the vast ocean of all possibilities, an “electrifying installation” by Firelei Baez. His musing brought forth the word “amazary,” as he wandered through the arches of the ruins.
Leaders of the Cleveland Triennial announce winners of FRONT Futures fellowships for not three (as originally promised), but four BIPOC artists of the region. The fellowships offer financial support, as well as mentorship, travel, and connections to the international contemporary art world.
Erin O’Brien talks with Buffalo-based artist Asad Raza and the captain of the catamaran on which they and a crew of poets and musicians sailed about the planned journey from the artist’s hometown across Lake Erie to Cleveland, in time for the opening of the FRONT Triennial.
Leadership of the Triennial announce fellowships that will nuture the careers of Cleveland-based BIPOC artists, with financial support as well as mentorship, travel, and connections to the contemporary art world.
Douglas Max Utter visits the Fall, 2021 exhibit at Transformer Station, presented as a preview of the 2022 FRONT Triennial. He muses on the capacity of an art triennial to “heal,” as FRONT strives to do, and considers works especially of Cleveland-based artists such as Dexter Davis, La Wilson, and Paul O’Keefe.
In a January, 2020 pre-pandemic panel discussion previewing the second FRONT Triennial (then slated for Summer 2021), Artistic Director Prem Krishnamurthy and a panel of artistic leaders showed interest in taking up big challenges for an art triennial: to deal with racial inequity, and to better connect with people who are not already wired into the art triennial world.