#visibility #labor #institutions #class #race #access Photographer LaToya Ruby Frazier makes her New York solo debut with A Haunted Capital, a tightly crafted, personal-is-political installation at the Brooklyn Museum. The artist’s hometown of Braddock, a forgotten steel mill town in Allegheny County, Pennsylvania, is marked by a geography of postindustrial degradation. An outsider might take a social documentary approach to Braddock’s history and current woes. As an insider, Frazier documents that[…..]

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses (250–400 words) 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, Eva Morgenstein considers the artwork of New Orleans–based Dr. Bob. Tucked away in the Bywater district of New Orleans, Dr. Bob’s Folk Art condenses the city’s[…..]

As part of our ongoing partnership with KQED Arts, today we bring you a review of  Electronic Pacific at SOMArts in San Francisco. Author Roula Seikaly notes that the exhibition provides, “a moment to consider what we say, how we say it, and to whom, as globalization propels us toward an uncertain future.” This review was originally published on July 24, 2013. In the trailer for his[…..]

When confronted with endings, we mourn and ultimately accept. We feel some mix of disappointment and satisfaction that we were there before it ended, excitement that it happened, and sometimes relief that it is over. Queens Nails is Dead is the last exhibition for Queens Nails Gallery, an artist-run nonprofit gallery that opened in San Francisco’s Mission District in 2004. Featuring the work of Daniel[…..]

With Cinder Blocks We Flatten Our Photographs, currently on view at Romer Young Gallery, includes work by San Francisco artists C. Wright Daniel, Pablo Guardiola, Jonathan Runcio, and Emma Spertus; the Los Angeles–based John Pearson; and New York–based artists Deric Carner and Letha Wilson. The press release notes as precedent curator Peter C. Bunnell’s Photography into Sculpture exhibition, mounted in 1970 by the Museum of Modern[…..]

The assembly of works by AFRICOBRA (African Commune of Bad Relevant Artists), a collective of African American Chicago-based artists active during the 1960s and 1970s, now on display at the Logan Center for the Arts could fairly be described as a time capsule; it is more important for the moment it captures than for its contents. In addition to this exhibition, titled AFRICOBRA: Philosophy, the collective currently has two other[…..]

Perchance to Dream, a group exhibition on view at New York’s Andrea Meislin Gallery, features twenty-five international artists’ photographs that relate to the Shakespeare quote referenced in the show’s title. We see napping children, embracing couples in bed, homeless men on the street, passed-out teenagers on the beach, and even an abandoned, sleeping dog. We also see the strange addition of soiled and torn mattress “landscapes,” presented[…..]