Amy Sillman’s new suite of paintings at Capitain Petzel are large and spatial, with an airiness well-suited to the glass paneled façade of her new Berlin gallery. Sillman’s latest canvasses still have the brute gestural force of a paint-conjured “id,” but also possess a kind of nimbleness and play alluded to in the exhibition’s title, Thumb Cinema. Her palette is quiet, with lavender and forest[…..]
More a thoroughfare between the institutional offices and educational spaces than destinations, the second and third floor galleries at the Museum of the African Diaspora (MoAD) can be, at times, unforgiving display spaces. Nevertheless, as an institution, MoAD consistently presents exhibitions that expand one’s notions of race and identity. One need only to look at last year’s “African Continuum: Sacred Ceremonies and Rituals,” which contrasts[…..]
Recently in the San Francisco Bay Area it has been impossible to walk down a street without running into (or trying to avoid) someone protesting something. The messages range from concise to ironic, sardonic to flat-out fed up. In the undulating sea of abridged manifestos, there is the rare message so poignant that it demands the sign-bearer’s cause receives deeper consideration. Geoff Oppenheimer’s current exhibit[…..]
This week from the DS Archives we take a look at MoMA’s 2009 New Photography exhibition, and see where some of the photographers are now: The works of Sarah VanDerBeek and Leslie Hewitt are now on view at the Austin Art House‘s current exhibition, The Anxiety of Photography – On view until December 30, 2011 Walead Beshty recently exhibited Securities and Exchanges at Ullens Center[…..]
The Palm Island riot and its aftermath are the focus of Indigenous artist Vernon Ah Kee’s latest exhibition Tall Man, held in conjunction with the Melbourne International Arts Festival and Gertrude Contemporary. Comprising three segments – a video installation, a portrait and text – the series is an examination of the ongoing cruelty and official indifference toward the Aboriginal Community in Australia. In 2004, indigenous[…..]
L.A. Expanded: Notes from the West Coast A weekly column by Catherine Wagley That week Pacific Standard Time, SoCal’s Getty-funded, 60-plus institution push to excavate its own post-WWII art history, officially opened, I popped into a gallery showing a great selection of new work by an older artist. Is this an official Pacific Standard Time show, I wanted to know. “I don’t really know what[…..]
Vincent Vulsma’s exhibition at the Stedelijk Museum Bureau Amsterdam explores the use of appropriation through the history of Dutch colonial expansion. He presents a contemporary artistic perspective on our relationship with colonialism beyond imperial history. Using and re-working a number of works originally seen in the ‘African Negro Art’ exhibition in New York’s MOMA in 1935, Vulsma displays the historic artifacts along with modern designs,[…..]
