A visually compelling, conceptually provocative consideration of the photographic medium, American View:  Landscape Photography 1865 to Now is anything but the kind of straightforward overview such a title suggests.  Showcasing works drawn primarily from the Rhode Island School of Design’s rich photography collection, American View shifts deftly between and among periods and styles and, in so doing, illuminates the ever-evolving relationship between landscape and photographic image. Upon entering the[…..]

  With Lutz Bacher‘s exhibition, San Francisco’s Ratio 3 creates a stark contrast to the surrounding neighborhood. Once the gallery’s heavy black doors close behind you, the vivid colors of Mission Street are abruptly shut off. The jagged, cavernous space is given over to stark black and white, or, to be more precise, irregular spatters of black on a white or light grey surface. The first thing one notices are small[…..]

Prior to this exhibition, I associated Jules Olitski with his stained color field canvases from the early 1960s. But like my experience of most solo exhibitions, I was pleasantly surprised to discover the dramatic range of paintings he produced throughout his nearly fifty-year career. Revelation: Major Paintings by Jules Olitski at American University Museum walks the viewer through Olitski’s creative evolution as an abstract artist,[…..]

It’s autumn in London – the sun-dappled days at Hyde Park become distant memories as my brief trip back to California enters my rear view. The temperature drops, the leopard-print bikini begins its hibernation, and I stock up on Wolford tights again. The droves of art world professionals have returned from their envy-inducing Facebook check-ins in Saint-Tropez and Positano to the sudden realisation that Frieze week is[…..]

There is much talk in Perth of the city’s isolation, of the role that global mobility might play in local contemporary art practice. ‘Mobility’ here is a necessity, inevitable in some form, although its direction is another question as the city remains attached to a European history that is far from the reality of the continent and region. These concerns are visible undercurrents in Yonder,[…..]

Long entrenched in British literary tradition, parody, pastiche and caricature have, more recently, been revived in contemporary British urban art. Street artist Banksy’s foray into social criticism of war, art world commercialism and totalitarianism (just to name a few) or Mau Mau’s sprawling colourful murals, elaborately scrawled on public surfaces are such notable instances of irreverent commentaries that satirise and caricaturise. A more domestic, less[…..]

Imagine if we never had to define ourselves. Imagine if we could exist suspended in a sort of identity probability cloud in which we were only more or less likely to be one thing than another. Or better yet if we could be in two conflicting states at once. We may never know the luxury of being both particle and wave, but we can certainly[…..]