Future Ruins, Rodrigo Valenzuela’s exhibition at the Frye Art Museum, is indeed monumental, incorporating a range of media including print, sculpture, video, and sound. The exhibition does not present a quiet, post-apocalyptic landscape that fetishizes decay; rather, Valenzuela addresses divisions of labor and the nature of work, making these complex issues manifest through the specter of the 21st-century economic landscape. And though it is discordant at[…..]

“Grids punctured with crosses in varying patterns” is perhaps the best—and admittedly, the most simplistic—way of summing up Ding Yi’s oeuvre. Ivory Black at the ShanghArt gallery is his latest iteration of these basic, severely geometric forms, in varying shades of blue, black, and white hues, distinguished only by date and serial number. Like an astronomer’s chart of the night sky, Ding’s gridded, ordered forms[…..]

Today, from our friends at BURNAWAY, we bring you a review of Clayton Colvin’s solo exhibition at beta pictoris gallery in Birmingham. Author Brett Levine notes, “[The exhibition] represents a strong commitment to the practice of painting as much as to its meaning.” This article was originally published on February 4, 2015. In new way to forget, Clayton Colvin’s third solo exhibition at beta pictoris gallery, we see the[…..]

On Sunday, February 15, the Broad opened its doors on Grand Avenue in downtown Los Angeles, proving the ease with which hype can be deflated like a big white balloon. The daylong preview offered VIPs—and, in the later afternoon, members of the public—a sneak peek of the still-raw interior of the three-story, 120,000 square-foot, $140 million building. The Broad will house and exhibit its 2,000-work[…..]

“Glitter/Utopia,” “Boring/Because,” “Decade/Asshat,” “Wartime/Paisley”: These are a few of the word combinations that appear in Charles Atlas’ two-channel video projection, Ethel’s Fortune or The Waning of Justice (2015), currently filling two expansive, adjacent walls at Luhring Augustine’s Chelsea location. Each term in the dyad phases into position in front of footage of a maritime sunset while the letters themselves open up similar vistas contained within[…..]

Within the Jepson Center of the Telfair Museums in Savannah, Georgia, there is a hallway that connects the main atrium to an auditorium, an education center, a small technology gallery, and the restrooms. This hallway gets a significant amount of foot traffic, but it does not provide optimal conditions for exhibiting traditional artwork. However, six flat-screen TVs, a digital projector, and an iPad are currently[…..]

The exhibition Feast: Radical Hospitality in Contemporary Art originated with the University of Chicago’s Smart Museum of Art in 2012. Since then, it has had stops at the Blaffer in Houston, SITE Santa Fe, the Gund Gallery at Kenyon College, and is now on view at the University of Minnesota’s Weisman Art Museum. Founded on the idea of examining artists’ invocations of food as a[…..]