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Jason Kalogiros: The Measure, The Weight, The Ground, The Scale at CAPITAL

Jason Kalogiros. Untitled (Drawing), 2015; unique gelatin silver photograph; 24 x 20 in. Courtesy of the Artist and Capital, San Francisco.

 Today from our partners at Art Practical, we bring you a review of Jason Kalogiros’ current solo show at Capital in San Francisco. Author Danica Willard Sachs notes, “[T]he artist employs the methodology of photography to interrogate the discrete boundaries between media.” This article was originally published on July 2, 2015. The process of making a photograph bears striking resemblance to the process of making a bronze sculpture.[…..]

Night Begins the Day: Rethinking Space, Time, and Beauty at the Contemporary Jewish Musuem

Laurent Grasso. Soleil Noir, 2014; 16mm film, looped; 11:40. Courtesy of the Artist, Galerie Perrotin, and the Contemporary Jewish Museum, San Francisco.

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, Mary Coyne reviews Night Begins the Day: Rethinking Space, Time, and Beauty at the Contemporary Jewish Museum in San Francisco.  Night Begins the Day is a meditative,[…..]

Pablo de Ocampo on Chris Marker, Alain Resnais and Duncan Campbell

Kadist_deOcampo

Today from our friends at Kadist Art Foundation, we bring you a talk by Pablo de Ocampo after a recent double-feature screening at their site in San Francisco. De Ocampo, Exhibitions Curator at Western Front in Vancouver, BC, discusses Chris Marker and Alain Resnais’ 1953 film, Les Statues Meurent Aussi (Statues Also Die) (1953) and Duncan Campbell’s Turner Prize-winning film It for Others (2013). 

Street Fighting Man

Nikoo Tarkhani.

Today from our friends at REORIENT, we bring you an excerpt from Joobin Bekhrad‘s interview with artist and curator Ali Ettehad, who says, “I strongly believe that at a time—especially in the Middle East—when art is, for the most part, commercially-driven, performance art is powerful in its ability to help artists retain their independence and integrity.” This article was originally published on June 2, 2015. Joobin[…..]

Portraits and Other Likenesses from SFMOMA at the Museum of the African Diaspora

Mickalene Thomas. Sista Sista Lady Blue, 2007; chromogenic print; 40 3/8 x 48 1/2 in. Collection of SFMOMA; gift of Campari USA. © Mickalene Thomas/Artists Rights Society (ARS), New York. Photo: Katherine Du Tiel.

“…In reimagining traditions of portraiture, the artists featured not only reinsert black subjects into the pictorial frame, they also redefine these creative traditions as inherently mutable and, as such, capable of representing complex subjectivities that exist beyond the boundaries of race, gender, sexuality, and class.” From our partners at Art Practical, today we bring you Anton Stuebner’s review of Portraits and Other Likenesses from SFMOMA. This article was[…..]

Ryan Wallace: LD50 at Romer Young Gallery

Ryan Wallace. LD50, 2015; installation view. Courtesy of the Artist and Romer Young Gallery, San Francisco.

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, Forrest McGarvey reviews Ryan Wallace: LD50 at Romer Young Gallery in San Francisco.  In his first solo show at Romer Young Gallery, New York[…..]

28 Chinese at the Asian Art Museum

Zhang Huan. To Raise the Water Level in a Fishpond, 1997; chromogenic print on Fuji archival paper; 40 ¾ in x 60 ½ in. Courtesy of the Rubell Family Collection, Miami. © Zhang Huan.

From our partners at Art Practical, today we bring you a review of 28 Chinese at the Asian Art Museum in San Francisco. Author Jing Cao notes: “The best works in 28 Chinese take as their subject [a] tension between material conditions and ideological constructs—between things and meanings—to offer new ways of observing the contemporary condition.” This article was originally published on June 25, 2015. 28 Chinese at the Asian[…..]