From our partners at Art Practical, today we bring you a review of Makeover at Southern Exposure in San Francisco. Author Mary Anne Kluth notes: “At a time of massive change in the demographics and urban shape of the Mission District […] the works in Makeover collectively acknowledge that life can be messy, but encourage or demonstrate ideals of exchange and openness, and emphasize approaching problems with a sense[…..]
Not many things are more difficult than articulating love. Displaying a lack of temperance can appear obsessive, while showing any sign of hesitance can be mistaken for a number of unintended things. Every so often, an individual demonstrates the ability to toe the line so eloquently and sincerely that the outcome is a lesson in expert labor. Ellen Lesperance’s exhibition We Were Singing at Adams[…..]
Make sure that this is a well-considered course of action and not just a mid-life-crisis maneuver that ends in remorse.
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, Colin Fernandes reviews Davina Semo: APPROACH OR ENTER at CAPITAL in San Francisco. APPROACH OR ENTER, the title of Davina Semo’s solo show at Capital Gallery,[…..]
In addition to their current special issue on the legacy of punk rock, our partners at Art Practical are also blasting into the new season with their annual Shotgun series—ten short reviews by regular contributors that cover the Bay Area art scene. This review, by Danica Willard Sachs, investigates the works of artist Chris Fraser, currently on view at Gallery Wendi Norris. This article was originally published on September[…..]
To enter the main gallery at the Drawing Center for a recent performance, we couldn’t use its front doors. Instead, we had to descend the stairs near the lobby, walk along the lower-level corridor from the front to the back of the building, ascend the rear stairs, and pass through the smaller gallery called the Drawing Room. There, the walls were adorned with several wooden[…..]
Today from our partners at Art Practical, we bring you an essay on art, manufacturing, and workers’ bodies. Author Genevieve Quick explains, “Whether in the U.S., Mexico, or India, workers endure the same cycle: becoming part of a larger network of production that can be disassembled and relocated, rendering them redundant. Assembly-line production has taken its toll on workers’ bodies since the beginning of industrialization, and its absence[…..]
