The gallery hums with screechy sounds resembling acoustic feedback, punctuated by random bursts of bass and cartoonish sound effects. The soundscape is queasily amorphous and disorienting, built on dissonance and the chaotic rhythms resonating from a handful of arachnids that have woven fine, thick webs around delicate wire frames. Featuring a plethora of spiderweb sound installations, Tomás Saraceno’s latest show Arachnid Orchestra. Jam Sessions is[…..]

Gail Wight considers how wind shapes the space we inhabit.

This week, inundated with news of artists to watch at the Frieze Art Fair, we bring you Jaqueline Clay’s assessment of a group show at the now-closed MacArthur B Arthur Gallery in Oakland, one that included the work of Shana Moulton. Moulton’s work at Frieze this year includes video and sculpture, and her recent exhibitions include Picture Pattern Puzzle Door at the Yerba Buena Center for[…..]

Toronto-based artist Tavis Lochhead has a knack for the surreal. In his photo collage series Habitat, large sections of industrial sites are digitally manipulated into semi-abstract compositions that disrupt the mundane aesthetics of manufacturing zones. In each work, the central figure—what the artist describes as “a sculptural element floating in space”—is an assemblage produced by an elaborate process of merging, mirroring, and stitching. Initially trained in[…..]

Museums are constantly devising new platforms to present their permanent collections. Interventions and mining-the-museum have become commonplace curatorial strategies, and institutions frequently turn to contemporary artists to animate, recontextualize, and bring visibility to canonized cultural objects. Disguise: Masks and Global African Art is Seattle Art Museum’s latest attempt to draw connections across temporal, geographic, and cultural lines. Leveraging the museum’s collection of African masks, the[…..]

From our friends at Canadian Art, today we bring you a feature on the Toronto-based artist Lorna Mills. Author Simon Lewsen (@SimonLewsen) notes, “The intensity of Mills’ art is rooted not just in the proliferation of images but also in their strange choreography.” This article was originally published on July 1, 2015. In the fall of 2014, Lorna Mills, the Toronto-based net artist, was exhibiting[…..]

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, Mary Coyne reviews Night Begins the Day: Rethinking Space, Time, and Beauty at the Contemporary Jewish Museum in San Francisco.  Night Begins the Day is a meditative,[…..]