Articles

From the Archives – Andrew Moore: Dirt Meridian at Yancey Richardson Gallery

Andrew Moore. First Light, Cherry County, Nebraska, 2013. Courtesy of Andrew Moore & Yancey Richardson

With the U.S. Bureau of Reclamation’s recent announcement that California’s Central Valley farmers will not receive any contracted federal water for the second year in a row, the photographic work of Andrew Moore is a bleak reminder of the state’s ongoing water crisis.  Author Nandita Raghuram describes the artist’s aerial photographs of the 100th meridian as “sweeping views of windswept houses, splintered earth, and prairie grass[…..]

Clayton Colvin: New Way to Forget at beta pictoris

Clayton Colvin. Frontiersman, 2014; Acrylic, charcoal, pigment, and india ink
on linen on panel; 46 by 56 in.

Today, from our friends at BURNAWAY, we bring you a review of Clayton Colvin’s solo exhibition at beta pictoris gallery in Birmingham. Author Brett Levine notes, “[The exhibition] represents a strong commitment to the practice of painting as much as to its meaning.” This article was originally published on February 4, 2015. In “new way to forget,” Clayton Colvin’s third solo exhibition at beta pictoris gallery, we see the[…..]

Sky-Lit: Volume, Light, and Sound at the Broad, Los Angeles

Visitors in The Broad’s third-floor gallery space, before art walls are constructed, February 15, 2015. Photo by Ryan Miller / Capture Imaging. Courtesy The Broad.

On Sunday, February 15, the Broad opened its doors on Grand Avenue in downtown Los Angeles, proving the ease with which hype can be deflated like a big white balloon. The daylong preview offered VIPs—and, in the later afternoon, members of the public—a sneak peek of the still-raw interior of the three-story, 120,000 square-foot, $140 million building. The Broad will house and exhibit its 2,000-work[…..]

Charles Atlas: The Waning of Justice at Luhring Augustine

Charles Atlas. The Waning of Justice, 2015; installation view, Luhring Augustine, New York. Photo: Farzad Owrang.

“Glitter/Utopia,” “Boring/Because,” “Decade/Asshat,” “Wartime/Paisley”: These are a few of the word combinations that appear in Charles Atlas’ two-channel video projection, Ethel’s Fortune or The Waning of Justice (2015), currently filling two expansive, adjacent walls at Luhring Augustine’s Chelsea location. Each term in the dyad phases into position in front of footage of a maritime sunset while the letters themselves open up similar vistas contained within[…..]

GIF Studio at the Jepson Center

Nicolas Sassoon. Studio Visit, 2014 (still, detail). Looping GIF. Courtesy of Telfair Museums, Savannah, Georgia.

Within the Jepson Center of the Telfair Museums in Savannah, Georgia, there is a hallway that connects the main atrium to an auditorium, an education center, a small technology gallery, and the restrooms. This hallway gets a significant amount of foot traffic, but it does not provide optimal conditions for exhibiting traditional artwork. However, six flat-screen TVs, a digital projector, and an iPad are currently[…..]

Feast: Radical Hospitality in Contemporary Art at the Weisman Art Museum

Red76. Occupy Yr. Home Dinner, 2012; performance and installation, Chicago.

The exhibition Feast: Radical Hospitality in Contemporary Art originated with the University of Chicago’s Smart Museum of Art in 2012. Since then, it has had stops at the Blaffer in Houston, SITE Santa Fe, the Gund Gallery at Kenyon College, and is now on view at the University of Minnesota’s Weisman Art Museum. Founded on the idea of examining artists’ invocations of food as a[…..]

#Hashtags: Political Abstraction – The Revolution is Us

sturtevant_study_for_muybridge_plate_97_woman_walking_196641

In a 2012 essay for e-flux, After OWS: Social Practice Art, Abstraction, and the Limits of the Social, Gregory Sholette asks whether there can be a role for abstraction within the flourishing new discipline of socially engaged post-conceptual art practice. This remains a valid question given that most activist art is still understood to be representational, based on precedents from the Civil Rights era such as[…..]