Sculpture

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[…..]

Fan Mail: Brian Cooper

Brian Cooper. Gratification Management, 2004 (detail); upholstery, synthetic stuffing, staples, zip ties, chicken wire, covered buttons, metal buckets, carpet, wood paneling; 15 x 30 x 2 feet. Courtesy of the Artist.

There is something quite sordid about Brian Cooper’s sculptural installations. The tufted forms in sickly mustard yellows and dark browns seem to ooze over walls, drip down plinths, and pool on aging carpets. As heavy, spreading masses and playful renditions on the theme of corporeality, they are like tactile manifestations of the slow, creeping wave of nausea that comes when one has overstayed an afterparty.[…..]

Interview with Wendy Red Star

Beatrice Red Star Fletcher and Wendy Red Star​. Apsáalooke Feminist #3, 2016. Press image. Courtesy of the Artist.​

Wendy Red Star produces photographs, textile-based works, and performances that situate her womanhood and Crow heritage as ontologically intertwined. Collaborating with fellow Indigenous artists, performers of other disciplines, and her daughter, Red Star documents her various achievements in the contemporary art world through strategies that have historical ties. Ashley Stull Meyers: You have roots in Montana and Colorado. What influenced you to settle in Portland, Oregon,[…..]

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.[…..]

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[…..]

Jimmie Durham: At the Center of the World at the Hammer Museum

Jimmie Durham: At the Center of the World, installation view, Hammer Museum, Los Angeles, January 29 – May 7, 2017. Photo: Brian Forrest.

Among obsidian stones, an upturned police barricade, a beat-up refrigerator, and cow vertebrae, the detail that lingers longest in Jimmie Durham’s retrospective, on view at the Hammer Museum, is Durham’s absence. Born in Arkansas in 1940, Durham left the United States thirty years ago for Europe and has largely refrained from exhibiting in the U.S. since, giving a provocative tone to the retrospective’s title, At[…..]