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, Christina Nafziger reviews All That Glitters Is Not Gold: Platinum Photography from the Center for Creative Photography at the Phoenix Art Museum in Phoenix, Arizona. In a world[…..]
From this Author
Today from our partners at Art Practical, we bring you an excerpt from author Maria Porges’ essay on the di Rosa in Napa, California. Porges explains: “Other museums may bear the name of a founder, but as far as I know, there really is no place quite like this one—historic home museum, contemporary white-walled space, and sculpture park rolled into one.” This article was originally published on December 4, 2014.[…..]
“Other Faces” assumes the feel of reportage, as if we are witnessing certain events from the struggle against colonialism in South Africa’s turbulent past.
In God Sees Everything, directed and choreographed by Phoebe Osborne, a complex weave of everything Californian coalesces.
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, Marion Cousin reviews José León Cerrillo and Ilja Karilampi at Kiria Koula in San Francisco. Founded by Colombian curator Juana Berrío and Mexican duo Leticia Vilalta and Rodrigo[…..]
From our friends at Kadist Art Foundation in San Francisco, today we bring you a conversation between artist Asha Schechter and Kadist’s director of collections, Devon Bella. This unique interview also features an animation by Yashar Tabari underscoring Schechter’s discussion of “the simultaneity of images… You can’t really see one image without seeing another.”
From our friends at Glasstire, today we bring you a review of Deborah Roberts’ current solo show at Art Palace in Houston, Texas. Author Betsy Huete notes, “To make political work without literally telling the viewer how he should think or feel is a tall order, yet Roberts pulls it off masterfully by intertwining the personal with the ideological. She infuses her work with subtle yet powerful[…..]