Articles

Tseng Kwong Chi at Grey Art Gallery

Tseng Kwong Chi. New York, New York (World Trade Center), 1979, from the East Meets West series; Gelatin silver print, printed 2014; 36 x 36 in. Courtesy of Muna Tseng Dance Projects, Inc., New York

Tseng Kwong Chi: Performing for the Camera is the first major retrospective on the artist, co-organized by the Chrysler Gallery and NYU’s Grey Art Gallery. Bringing Tseng’s body of work to the fore is an important and overdue project; his career was regularly eclipsed by his friends, whose trajectories characterized the 1980s New York City art market boom, most notably Jean-Michel Basquiat and Keith Haring.[…..]

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[…..]

Fan Mail: Carla Jay Harris

Carla Jay Harris. Teresa Cooper 1947, 2012; archival pigment print. 20 x 30 inches. Courtesy of the artist.

There is a profound stillness in Carla Jay Harris’ photographs—her framing and shooting style emits a pervasive calm that quiets the anxiety of her subject matter. Harris’ ability to create silence amid moments of emotional upheaval is eerie, tense, and evocative. Two bodies of work portray people and places in the midst of economic and cultural change; Dirt, Dust, Sand, Concrete (2012–2015) shows Smithfield, Virginia,[…..]

Simon Denny: The Innovator’s Dilemma at MoMA PS1

Simon Denny. New Management, 2014; installation view, Portikus, Frankfurt. Photo: Helena Schlichting. Courtesy of the Museum of Modern Art.

Startup culture is ripe for satire. The tech industry’s social and economic dominance makes it a necessary target, and its penchant for jargon-heavy, wildly inflated rhetoric makes it an easy one. Mike Judge’s HBO sitcom, Silicon Valley, deftly picks the low-hanging fruit, but it hardly needs to. The elevator pitches of most weak-to-average startups on the venture-capital trail, quixotically ascribing revolutionary potential to the most[…..]

Hidden Histories in Latin American Art at the Phoenix Art Museum

Lopez.

In a small, dark gallery at the back of the Phoenix Art Museum is a thoughtful exhibition of artworks with a global interest in subjects often left unspoken. A mysterious low rumbling of vibrating glass sets the stage for Hidden Histories in Latin American Art: Teresa Margolles’ La Búsqueda (The Search) (2014) is an installation consisting of glass panels plastered with missing-persons posters transported from[…..]

Marion Belanger: Rift/Fault – Landscape Photographs of the North American Continental Plate at Haverford College

Marion Belanger. Rift #51 (Geothermal pipes alongside a road at Hengill, Iceland), 2011; Fault #26 (North Shore, Salton Sea, CA), 2012; archival pigment print; 18.5 x 14.8 in. Courtesy of the Artist and Atrium Gallery, Haverford College.

Northward light fills the gallery upon entering Marion Belanger’s exhibition Rift/Fault. The exhibition, currently on view at Haverford College, contains roughly two dozen pairings of photographs drawn from Belanger’s decade-long investigation into the geography and geology of an unseen tectonic boundary: the North American Continental Plate. Along the edges of the plate lies the Mid-Atlantic Rift in Iceland, bisecting and pulling the small nation apart, and[…..]