In Still Life Landscape at Baer Ridgway, the artist team of Castaneda/Reiman works with two overlapping strategies: the appropriation and transformation of the customary depiction of terrain, and the invention of new landscapes by purely formal means. They apply these methods to the well-worn convention of the painted vista in search of the core or essence of landscape. The result is a large group of[…..]
Laurel Nakadate’s work uses unassuming means to memorable effect. Oops! (2000) is a video of a young woman in a tank top and tight jeans dancing a choreographed routine while a man in late middle age dances (or stands) awkwardly beside her. It is mesmerizing in its ambiguity: is she making fun of the man? Which one is being exploited? Beg for Your Life (2006)[…..]
In the first moments of our meeting, Nina Beier ambushed me. “Do you mind if we go over to the tea garden next door?” she asked, “Some friends of mine are there and we can all talk together.” I was alarmed at the prospect of a one-on-one interview conducted in a group, but I held my nose and jumped in. It was only through talking[…..]
The San Francisco Museum of Modern Art announced their 2010 SECA Award winners yesterday: Mauricio Ancalmo, Colter Jacobsen, Ruth Laskey, and Kamau Amu Patton. The award honors San Francisco area artists who are “working independently at a high level of artistic maturity but who have not yet received substantial recognition.” Each artist will be featured in an exhibition at SFMOMA in fall 2011. Congratulations to[…..]
With a broad mix of photographs from both unknown shutterbugs and internationally recognized artists, Exposed: Voyeurism, Surveillance, and the Camera Since 1870 at SFMOMA examines the images of a culture existing in an uneasy relationship to the camera. The exhibition probes our social connection to surveillance, pornography, and physical and emotional violence. Last week, Daily Serving’s Bean Gilsdorf sat down with Senior Curator of Photography[…..]
Wade Guyton’s work functions beautifully on material and conceptual levels. Guyton, currently represented by Friedrich Petzel in New York, is well-known for his work using the symbol X: represented sculpturally by black planks propped in a landscape, or markered onto a photograph, or printed in repeating patterns on linen. But lately I’ve been looking at his large-scale paintings from 2007/2008 and marveling over the way[…..]
