The first retrospective since On Kawara’s death in July 2014, On Kawara—Silence at the Guggenheim Museum presents fifty years of the artist’s work. At the core of the exhibition are the daily practices that constituted Kawara’s life and art: the conceptual rituals that produced the Today, I Got Up, I Met, I Went, and I Am Still Alive series. Each series represents a different way[…..]
From our partners at Art Practical, today we bring you a review of Diana Thater’s current solo exhibition at the San Jose Museum of Art. Author Genevieve Quick notes that this exhibition is remarkably similar to ones the artist has already presented: “I am unconvinced that Thater’s minor changes constitute new works or the experimentation that the series seeks to support.” This article was originally published on April 28,[…..]
From our partners at Art Practical, today we bring you a Shotgun Review of Josh Greene’s Bound to Be Held at the Contemporary Jewish Museum. Author Adriana Rabinovitch notes that the exhibition “allows for visitors to grasp, and possibly reciprocate, a relationship that a stranger has with a literary work.” This review was originally published on April 18, 2015. Josh Greene’s Bound to Be Held: A Book Show[…..]
Artist Ian McMahon is a material purist who makes monumental sculptures from raw clay and industrial plaster. The resulting works are contradictory in impression—domineering but fragile, familiar while avoiding redundancy. In his most recent exhibitions he has introduced an element of controversy for anyone who has ever engaged with the tedium of delicate materials—the work is made to be broken. Ashley Stull Meyers: Let’s talk[…..]
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, Nancy Garcia reviews Sanaz Mazinani: Threshold at the Asian Art Museum in San Francisco. Currently on view at the Asian Art Museum is Threshold, a[…..]
In the dark at PSM Gallery in Berlin, a digital animation is silently breathing. It appears as an inverted landscape split in equal parts by land and sky. A field recedes into the horizon, with a mass of permafrost above and mostly clear blue atmosphere below. Green shrubs flop and slide loosely on the screen, wriggling and dismorphic, moving as they would in an acid[…..]
Surround Audience, the latest triennial exhibition at the New Museum, surveys fifty-one emerging artists, from twenty-five countries, whose practices are informed by their lived experience immersed in the digital landscape. The triennial has always billed itself as a predictive rather than reflective survey, and this iteration is no exception, with a focus on the culture of the immediate present and where it’s hurtling. Though the[…..]
