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, Carolina Magis Weinberg reviews M/D: Coda at SFMOMA in San Francisco. In the current political moment, in which women and people of[…..]
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, Sofia Villena Araya reviews En Plein Air: Music of Objective Romance at SFMOMA. Jacolby Satterwhite, an African American artist well known for[…..]
From our sister publication Art Practical, today we bring you Deena Chalabi’s article in issue 8.3: Art Can’t Do Anything If We Don’t. This issue explores the role of art in times of crisis, and how it both succeeds and fails as a call to action and political tool. Chalabi states, “Art offers alternatives to ideas and images prepackaged for us by politicians or corporations (rarely are we[…..]
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, Max Blue reviews Diane Arbus: In the Beginning at SFMOMA. Diane Arbus: In the Beginning is a meandering, somewhat maudlin journey through the[…..]
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, Max Blue assesses Japanese Photography from Postwar to Now at SFMOMA. When viewing any retrospective of work, patterns emerge. Visiting Japanese Photography from[…..]
Among the works at the threshold of Bruce Conner: It’s All True, a massive retrospective at the San Francisco Museum of Modern Art (SFMOMA), PRINTS (1974) is atypical even for the protean artist.[1] Consisting of a steel lockbox containing photographs, documents, and fingerprints, PRINTS records a protracted dispute between Conner and San Jose State University, which had invited him to teach in its art department.[…..]
For today’s Summer Session topic of celebrity, we bring you Genevieve Quick’s review from our sister publication Art Practical of the 2010 SFMOMA exhibition Exposed, a show on the history of photography and the camera. Our contemporary fascination with celebrities is heavily shaped by the photographic medium, and Exposed explored some of the earliest iterations of the iconic paparazzi shot that is a quintessential celebrity experience. This review was originally published[…..]
