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ARTVOICES MAG is more than a cultural arts magazine. It is a witness. A historical record. A living archive documenting America's collective achievements, struggles, and aspirations through the lens of contemporary art.

At a time when culture is increasingly shaped by spectacle, commerce, and distraction, ARTVOICES remains committed to the artists, writers, curators, and thinkers whose work challenges, questions, and expands our understanding of the world. We believe art is not a luxury. It is evidence of who we are, what we value, and what we choose to remember.

The role of ARTVOICES is to document the conversations that matter. To amplify voices that deserve to be heard. To preserve the ideas, movements, and creative expressions that will define this moment for future generations.

For too long, artists and cultural producers have been expected to ask for permission to participate in the national dialogue. That time has passed.

We are not waiting to be invited into the conversation.

We are the conversation.

ARTVOICES is building a platform where contemporary art intersects with politics, history, culture, identity, and the human condition. A place where artists serve not only as creators, but as witnesses, critics, visionaries, and custodians of our collective memory.

We want to be on your radar. Not because we seek validation, but because what is happening here matters.

The artists matter.

The ideas matter.

The culture matters.

And history is being written in real time.

ARTVOICES is here to document it.

REVIEW: SIX DEGREES of SEPARATION at SMITH Contemporary

REVIEW: SIX DEGREES of SEPARATION at SMITH Contemporary

Terrence Sanders-Smith
Contemporary Art

Several years ago, during a discussion I was having with legendary artist Willie Birch, he made a statement which I will never forget regarding New Orleans—the miraculous city we both have the gift of calling our hometown. After living in New York City during the 1970s and ‘80s and being immersed within the canon of art history (Birch was the 1977-78 Studio Museum in Harlem artist in residence, and he participated in his friend David Hammons’ 1982 performance Human Pegs / Pole Dreams), he then moved back to New Orleans. When referencing what influenced this decision, he mentioned one aspect being related to the fact that regardless of what life or artistic turbulences he knew he might experience, New Orleans was a place where he knew he’d always be able to find someone “who would give him a bowl of red beans and rice.” This simply profound statement is one that fully encapsulates a major part of New Orleans’ magic. As the most African-rooted city in the United States, the ways in which the city “does” community fully and perpetually blurs the “separation” that traditionally exists between individuals in other communities.

Read Full REVIEW by Nic[o] Brierre Aziz in the WINTER issue.

Street Date: Tuesday December 9th 2025

Nic[o] Brierre Aziz

Nic[o] Brierre Aziz is a Haitian-New Orleanian interdisciplinary artist and curator born and raised in New Orleans, LA. His practice often engages themes of history, pop culture and satire while centering narratives of the Caribbean and Southern United States. He is a graduate of Morehouse College, The University of Manchester (UK) and Yale University’s School of Art.

REVIEW: 'LOUISIANA CONTEMPORARY' at the OGDEN MUSEUM OF SOUTHERN ART

REVIEW: 'LOUISIANA CONTEMPORARY' at the OGDEN MUSEUM OF SOUTHERN ART
REVIEW: ‘FROM THE STORMS OF OUR SOULS’ THE ART OF RON BECHET at the CONTEMPORARY ART CENTER

REVIEW: ‘FROM THE STORMS OF OUR SOULS’ THE ART OF RON BECHET at the CONTEMPORARY ART CENTER

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