In God Sees Everything, directed and choreographed by Phoebe Osborne, a complex weave of everything Californian coalesces.

Today from our partners at Art Practical, we bring you Heidi Rabben’s assessment of @Large: Ai Weiwei on Alcatraz. Rabben writes, “…certainly, awareness and exposure counts for something, but whether or not these quantitative measurements will effectively impact or change any thinking about human rights is uncertain, and is therefore also a missed opportunity.” This article was originally published on November 24, 2014. This text is likely neither the first[…..]

Today from our partners at Art Practical, we bring you a recent installment of “Notes from di Rosa,” a column produced in conjunction with Art Practical’s yearlong residency at the museum. In this edition, author Terri Cohn explores the collection and its legacy. This article was originally published on October 8, 2014. Beautiful, bucolic, and quiet, di Rosa stretches out over its 200 acres with obvious and[…..]

From our partners at Art Practical, today we bring you Lea Feinstein’s review of Sarah Oppenheimer’s current solo show at Mills College Art Museum. Feinstein notes: “[Oppenheimer] creates immersive experiences for participants, in which literal reflections inspire personal reflection and wondering is a product of wandering. […] But without hours of serious research before seeing the exhibition, it is difficult to parse the scope or significance of her installations from[…..]

Today from our partners at Art Practical, we bring you an assessment of Jordana Moore Saggese’s new monograph, Reading Basquiat: Exploring Ambivalence in American Art. Of Basquiat’s work, reviewer Anton Stuebner notes: “[the] canvases require viewers to […] recognize that the boundaries of pictorial representation, like language, can be redefined and reformed.” This article was originally published on October 7, 2014. The mythology around Jean-Michel Basquiat continues to proliferate in[…..]

From our partners at Art Practical, today we bring you Genevieve Quick’s consideration of performances by Mika Rottenberg and Shana Moulton. The author notes: “As early media artists and feminists have done, Rottenberg and Moulton construct imaginative narratives that probe the unsettling relationship between the body, screens, technology, and contemporary life.” This article was originally published on October 15, 2014. Mika Rottenberg’s and Shana Moulton’s absurdist[…..]

From our sister publication Art Practical, today we bring you a review of artist Jessamyn Lovell’s surveillance photography—artwork that has an incredible backstory. Author Genevieve Quick notes, “By leaving the project open-ended, Lovell smartly expands the work beyond revenge and allows viewers to consider its complexities through their own moral codes.” This article was originally published on September 25, 2014. In Jessamyn Lovell’s exhibition Dear Erin Hart,[…..]