Articles

Cynthia Ona Innis: Shift at Traywick Contemporary

Cynthia Ona Innis.
 Shift, 2014; acrylic and satin on canvas; 
45 x 50 in. Courtesy of the Artist and Traywick Contemporary, Berkeley.

Our partners at Art Practical are celebrating their sixth annual Shotgun! issue, so today we bring you Maria Porges’ review of Cynthia Ona Innis: Shift at Traywick Contemporary in Berkeley, California. This article was originally published on September 25, 2014. Rather than being representations of place, Cynthia Ona Innis’ paintings are evocations of the experience of landscape. Innis favors locations where change is visible and constant—like Iceland, where she visited a year[.....]

Carving Through Borders at Galería de la Raza

Oree Originol. Untitled, 2014; wood, ink, and paper; 7 x 3 ft. Courtesy of the Artist and Galería de la Raza, San Francisco.

Congratulations to our partners at Art Practical on their sixth annual issue of Shotgun Reviews! Today’s review is from Matthew Harrison Tedford, who offers an assessment of the exhibition at Galería de la Raza in San Francisco: “At a time when the U.S. political system is failing to address immigration and when millions of American families risk being uprooted, Carving Through Borders offered a much-needed platform for conversation.” This article[.....]

Doug Aitken: Still Life at Regen Projects

Doug Aitken. END/RUN (timeline), 2014; Clear mirror, resin, concrete powder
coated steel; 72 x 132 3/4 x 36 in. © Doug Aitken. Courtesy Regen Projects, Los Angeles.

Doug Aitken is a quintessential Los Angeles artist. Working across multiple platforms—“photography, sculpture, publications, sound, and single- and multi-channel video installations”[1]—he employs the high production values and superficial slickness of Hollywood. His art is all about spectacle, whether it’s Electric Earth (1997), his multi-screen video in which a solitary protagonist dances his way through a pulsing, nocturnal urban landscape, or his recent endeavor Station to[.....]

New Image Painting at Shane Campbell Gallery

New Image Painting, 2014; installation view, Shane Campbell Gallery, Chicago. Courtesy of the artist and Shane Campbell Gallery.

What sets New Image Painting at Shane Campbell Gallery apart from this year’s other sleepy season closers is not the work selected, which is a standard collection of represented artists and friends of the gallery, but rather an unusually confrontational framing within painting’s past and present history. As the curator’s statement explains, New Image Painting offers a “platform from which to critique the prevalence of[.....]

#Hashtags: Black Futurism: The Creative Destruction and Reconstruction of Race in Contemporary Art

nuri Kahiu. Pumzi, film still, 2009. Courtesy Focus Features Africa First Short Film Program.

#blackness #afrofuturism #identity #agency #mobility Today we’re partnering with our friends at ART21 Magazine to bring you Nettrice Gaskins‘ excellent consideration of “Black futurism as a form of creative expression [that] pushes against the conventional limits of black subjectivity.” This article was originally published on June 24, 2014, in the “Future” issue of ART21 Magazine. For the online research project Liquid Blackness, Alessandra Raengo reflects on[.....]

Kenturah Davis: Narratives and Meditations at Papillion

Kenturah Davis. Narrative IV, 2014; grease pencil on paper, Wenge wood box; 75 x 54 in. Courtesy of the Artist and Papillion, Los Angeles.

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, Anna Martine Whitehead reviews Kenturah Davis: Narratives and Meditations at Papillion in Los Angeles. As an artist playing with the limits of realism, Kenturah Davis points to[.....]

Women in Performance: Rigorous Ecstasy – Language & Performance, Part I

Carolee Schneemann. Correspondence Course (triptych), 1980/1983, self-shot silver prints mounted on silk-screened text; 30 x 20 inches. Courtesy of the Artist and PPOW Gallery, New York. © Carolee Schneemann.

Today from our friends at Art Practical, we bring you the first installment of the new column “Women in Performance,” which kicks off with an interview between author Jarrett Earnest and artist Carolee Schneemann. To quote from the column’s introduction: “Impelled by painting, Schneemann has plumbed the history of images, embodiment, and language since the 1950s, creating pioneering performances, films, installations, sculptures, and drawings. This two-part interview focuses[.....]