Author Taylor Murrow talks with Mercure about her pop-up shop project, where the prices reflect the local gender wage gap.

Obsessively attuned to the use of space, Tony Hope stages deceptively spare sculptural environments within the gallery of ASHES/ASHES in his first Los Angeles solo exhibition, TH+. The two installations, which are suggestive of one another in their polarity, speak to the larger context of the show as it pertains to the value of manufactured identity. Hope displays a deep understanding of the transience found within subcultural materials that do[…..]

The stylistic shift in Frank Stella’s work has been met with fierce criticism, to say the least. Much has been written recently about his current retrospective at the Whitney, trying to connect his wildly expressive, three-dimensional works of the past few decades with his singular striped paintings of the 1960s. More than thirty years ago, Douglas Crimp characterized Stella’s late work from the 1970s as[…..]

The history of the artist-as-collector is as long as the history of art itself. From Rembrandt to Damien Hirst, artists have amassed collections in order to satisfy a range of interests and obsessions. A Shared Space: KAWS, Karl Wirsum, and Tomoo Gokita, at Tulane University’s Newcomb Art Museum, consists of artworks culled from the Brooklyn-based artist, designer, animator, and commercial guru KAWS’s private collection, allowing[…..]

Like with mazes and haunted houses, there’s a magnetic appeal in unraveling the mysteries that fictitious places offer. We enjoy undefined atmospheres where a strange comfort assures the encounter with the unknown and is met with the thrill of discovery. Because our sense of control struggles with the powerful forces of uncertainty, we are challenged by our own idea of self-representation, despite being aware that[…..]

#museums #empathy #posthuman #Anthropocene #environment Recent headlines demonstrate that human beings are consistently terrible to one another, and it can be tempting to reject the human altogether. Drained by a year of public and private deaths, numb with exhaustion after having a child and returning to work, I entered Diana Thater’s mid-career retrospective at LACMA and found that those worldly concerns quickly fell away. Thater’s[…..]

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, Elena Gross reviews Cold Storage: James Cordas and Rhonda Holberton at City Limits Gallery in Oakland. A chilly, overcast afternoon seemed like the perfect[…..]