The Heart Is Not a Metaphor, the first large-scale survey of Robert Gober’s career to take place in the United States, is a testament to the breadth of the artist’s provocative articulation of those moments of cultural past that linger in the corners of peripheral vision—a lingering that keeps one unsettled. Queered, uncanny objects of the everyday radiate the trauma of the half-remembered event. In Gober’s untitled piece from 1997,[…..]
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, Maria Porges reviews Forrest Bess: Seeing Things Invisible at the Berkeley Art Museum in Berkeley, California. Forrest Bess (1911–1977), a talented, visionary artist whose work was exhibited in[…..]
The third-most-popular visitor destination in Philadelphia is a ruined prison: the Eastern State Penitentiary (ESP). Based on the concept of the Panopticon, in which all inmates are housed in a circular building and under the surveillance of guards in a central tower, ESP opened in 1829 and closed in 1971. At the time of its completion, the fourteen-acre complex was the largest construction in the[…..]
The beginning of March sees New York erupt in an art world flurry with the 75th Whitney Biennial igniting the itinerary for the next couple months of art fairs, large-scale exhibitions, auctions, and not least of all, the parties that accompany such events. Presented by Elisabeth Sussman and Jay Sanders, who formed a fortuitous curatorial duo, the 2012 Biennial shone brighter than the previous Biennial[…..]
