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Hammer Projects: Kevin Beasley at the Hammer Museum

Chair of the Ministers of Defense, 2016; installation view, Hammer Projects: Kevin Beasley, 2017. Courtesy of the Hammer Museum, Los Angeles. Photo: Brian Forrest.
Chair of the Ministers of Defense, 2016; installation view, Hammer Projects: Kevin Beasley, 2017. Courtesy of the Hammer Museum, Los Angeles. Photo: Brian Forrest.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Colony Little reviews Hammer Projects: Kevin Beasley at the Hammer Museum in Los Angeles. A large black curtain impedes the entrance of[…..]

Issues of Power: Resilience and Healing

Juan Roberto Diago. Aché Pa’ Los Míos [Good Vibes for My People], 1999, mixed media on burlap. Courtesy of The Cooper Gallery.

Today from our friends at Big Red & Shiny, we bring you a conversation between artist Chanel Thervil and artist and curator Silví Naçí. They discuss artist Juan Roberto Diago’s first retrospective, curated by Alejandro de la Fuente at the Cooper Gallery. Naci parallels the exploration of diasporic Africans in colonized Cuba in Diago’s work with the current political state of the U.S., saying, “…during a crucial moment in U.S.[…..]

Diane Arbus: In the Beginning at SFMOMA

Diane  Arbus. Female  impersonator  holding  long  gloves,  Hempstead,  L.I.,
1959. Courtesy  The Metropolitan  Museum  of Art. © The  Estate  of Diane  Arbus,  LLC.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Max Blue reviews Diane Arbus: In the Beginning at SFMOMA. Diane Arbus: In the Beginning is a meandering, somewhat maudlin journey through the[…..]

Meat Is Murder

Soukaina Joual. Halal, 2016; light panel; 13.7 x 13.2 in.

Today from our friends at REORIENT we bring you Zöe Hu’s article on artist Soukaina Joual. Hu says of Joual’s exploration of meat as a subject, “Meat’s link to violence is an easily made one, and it only takes the viewer another thoughtless step forward to affix the MENA region onto that relationship; but Joual avoids the obvious constellation of meat–violence–Arab world, instead tinkering with a[…..]

Rina Banerjee: Human Likeness at Hosfelt Gallery

Rina Banerjee. Heavens no place for girls, no sand, no flowers no count of curls no irons to flatten nor straighten or curl you coiled corns, your hair would not leave you naked as girls when all but one could leave open my calls to trumpet her thoughts, stainless steel bikini and sanding wheels for girls who will not open, 2016; blue silver leaf, acrylic, aluminum leaf, and ink on paper; 66 x 30 inches. Courtesy of Hosfelt Gallery, San Francisco.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Maddie Klett reviews Rina Banerjee: Human Likeness at Hosfelt Gallery in San Francisco. Indian artist Rina Banerjee titles her bold paintings and[…..]

A Quinquennial and Two Biennials

Forget Fear, 2012; installation view of the KW Institute for Contemporary Art’s ground floor, 7th Berlin Biennale, 2012. Courtesy of Frieze.

Today we honor the work of our friend and contributor Leigh Markopoulos, who died tragically on Friday after a car accident in Los Angeles. Leigh worked at Serpentine Gallery, Hayward Gallery, and the Wattis Institute for Contemporary Arts; eventually becoming the Chair of the Graduate Program in Curatorial Practice at California College of the Arts, where she shaped more than a decade of cohorts of MA students in the first[…..]

Ho Tzu Nyen

Today, from our friends at Kadist, we bring you a video interview with Singapore-based artist Ho Tzu Nyen. The artist speaks about their interest in transience, metamorphosis, migration, and the correlation between renaissance painting and their contemporary video work. He reflects on his interest in tracking clouds, stating “this, for me, is a way of tracking an art-historical motif which migrates from the East to the West or[…..]