May, 2014

Love & Ground: Interview with Conny Purtill and Friends

Conny Purtill. The Ground, 2014; installation view, Adams and Ollman Gallery, Portland, OR. Courtesy of the Artists and Adams and Ollman.

As an idea and word, “curator” continues to suffer a death from overdose. Still, I am tempted to place this burdensome phrase upon Conny Purtill and his chosen allies—that is, if we can agree that curating involves working with someone else’s objects to elucidate a concept. The exhibition The Ground, recently on view at Adams and Ollman Gallery in Portland, Oregon, began with Purtill gifting[…..]

Fan Mail: Susan Cantrick

Susan Cantrick. Sbc 177, 2014; mixed media (acrylic, pastel, and pencil) on paper; 26 x 29 inches. Image courtesy of the Artist.

Though Susan Cantrick’s paintings are composed mostly of abstracted planes of color, they defy any notion of flatness. The more one looks at Cantrick’s rich fields of color and intricate sections of textured patterning, the more her uniquely layered perspective comes into view. Cantrick regularly employs many of the traditional elements of painting: scale, shape, color, tone, line, perspective, and texture. However, she mixes these traditional[…..]

Witness: Art and Civil Rights in the Sixties at Brooklyn Museum

Sam Gilliam. Red April, 1970; acrylic on canvas, 110 x 160 in. Courtesy of the Iowa Museum of Art, Gift of the Longview Foundation.

As someone born two decades after the Civil Rights Act of 1964, I received visual access to the civil-rights era predominantly through photographic documentation. Black-and-white photos in history books, documentary films, and microfilm of front-page newspaper stories shaped my understanding of the period, suggesting a more or less linear sequence of events. Witness: Art and Civil Rights in the Sixties, now at the Brooklyn Museum,[…..]

Remembering the Dead

Joseph Grigely. The Gregory Battcock Archive, 2009-2014; Installation view, Whitney Museum of American Art.
Courtesy of Air de Paris, Paris. Photo: Andrés Ramírez.

From our friends at Bad at Sports, today we bring you another assessment of the Whitney Biennial, which closes this coming Sunday. Author Jessica Cochran examines the archival nature of the current exhibition and notes, “…as the art world grows ever bigger in size and speed, one can only hope that the Whitney Biennial continues to make room for the discursive, textual, and ‘tossed-aside particulars.’” This[…..]

Value/Labor/Arts: The Manifestos

W.A.G.E., Artist Payment Graphic, excerpt from W.A.G.E. graphic poster of artist survey results, 2011.

From our friends at Art Practical, today we bring you a publication that is more archive than article: Value/Labor/Arts: The Manifestos was one part of the spectacular issue “Valuing Labor in the Arts” that was guest-edited by Shannon Jackson, Director of the Arts Research Center at UC Berkeley. Compiled by Jackson and artist Helena Keeffe, Value/Labor/Arts: The Manifestos presents seven “recent and… not-so-very-old manifestos of artists who found[…..]

#Hashtags: Mimics and Minstrels

#access #discrimination #appropriation #institutions #representation #re-performance Two important events transpired in the art world last week that have brought the complications of diversity and hierarchy into sharp focus. The first is the passing of artist Elaine Sturtevant, an artist who sublimated a critique of gendered inequity among artist peers into works that appropriated and re-created works deemed significant to the canon of contemporary art. The other[…..]

Etel Adnan at Callicoon Fine Arts

Etel Adnan. Untitled, 2012; oil on canvas; 9.5 x 11.75 in. Courtesy of the Artist and Callicoon Fine Arts, New York.

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, Bansie Vasvani reviews Etel Adnan at Callicoon Fine Arts in New York City. On the heels of Etel Adnan’s inclusion in Documenta 2012, and concurrent to her inclusion in[…..]