Installation

José León Cerrillo and Ilja Karilampi at Kiria Koula

José León Cerrillo and Ilja Karilampi, 2014; installation view, Kiria Koula, San Francisco. Courtesy of the Artists and Kiria Koula.

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[…..]

Ai Weiwei: @ Large at Alcatraz

Ai Wei Wei. With Wind, 2014; installation detail, New Industries Building, Alcatraz. Courtesy of FOR-SITE Foundation. Photo: Jan Stürmann.

Today from our partners at Art Practical, we bring you Heidi Rabben’s assessment of @Large: Ai Weiwei on Alcatraz. Rabben writes, “…certainly, awareness and exposure counts for something, but whether or not these quantitative measurements will effectively impact or change any thinking about human rights is uncertain, and is therefore also a missed opportunity.” This article was originally published on November 24, 2014. This text is likely neither the first[…..]

The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists at the SCAD Museum of Art

The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists, installation view, SCAD Museum of Art. Franck Abd-Bakar Fanny, Another Day without You, 2013; five c-prints mounted on disec; 39 ½ x 70 ¾ inches each. Ghada Amer, The Blue Bra Girls, 2012; stainless steel; 72 x 62 ¼ x 54 inches. Lamia Naji, Immaculé, 2011; six c-prints mounted on Dibond; 45 ¼ x 61 inches each. Courtesy of SCAD Museum of Art, photo by Marc Newton.

The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists at the SCAD Museum of Art in Savannah, Georgia, is an ambitious show, but originally I pondered the reason for viewing the work of African artists through a lens of an archetype of Western literature, The Divine Comedy by Dante Alighieri. While such an endeavor may not seem particularly edifying at the outset,[…..]

Mean Time to Upgrade at InterAccess

Hannah Epstein. Cock Fight, 2010; mixed media. Courtesy of the Artist and InterAccess. Photo: Robin Hamill Photography 2014.

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, Shauna Jean Doherty reviews Mean Time to Upgrade at InterAccess in Toronto. The exhibition Mean Time to Upgrade at Toronto’s premiere new-media art gallery, InterAccess, responds to the[…..]

Wangechi Mutu: A Fantastic Journey at Mary and Leigh Block Museum

Wangechi Mutu. Suspended Playtime, 2008/2013; Packing blankets, twine, garbage bags, and gold string; dimensions variable. Courtesy of the artist and Susanne Vielmetter Los Angeles Projects.

This year has been unusually promising for the visibility of work by black female artists, even while that prominence has further highlighted racially problematic attitudes within the art world. The last ten months have marked the first in which an African American woman—Carrie Mae Weems—was given a retrospective at the Guggenheim, though her triumphant entry into that pantheon led to rebukes that the museum cut the original[…..]

Anselm Kiefer at Mass MoCA

Two of the beds in The Women of the Revolution showing could be mistaken from above for desert or mining landscapes, shifting in scale from intimate to massive. The Women of the Revolution (Les Femmes de la Révolution), 1992/2013 (detail); lead beds: dimensions variable; photograph on lead: 138 x 174 in. Courtesy of MASS MoCA, North Adams, MA, and Hall Art Foundation, New York. Photo: Saul Rosenfield.

Imagine a corrugated metal shed in which two facing walls tower twenty-five feet high and extend fifty-eight feet in length. Each interior wall is paneled with fifteen six-foot by nine-foot Anselm Kiefer paintings that rise three feet high. Layering seems an apt metaphor not only for this work, Velimir Chlebnikov (2004)—whose shed stands inside the gallery building, inside the museum, inside the grounds of a former[…..]

Matt Borruso: Wax House of Wax at Steven Wolf Fine Arts

Matt Borruso. Forming, 2012–14; installation view, Wax House of Wax, 2014; plastic, Plexiglas, glass, mirrors, cut paper, ceramic, unfired clay, silicone, wax, talc, lenticular photographs, holograms, wood, tape, rubber bands, linen, concrete, steel, elastic, books, magazines, airbrush paint, inkjet prints, transparencies, posters, wallpaper; 120 x 42 x 61 in. Courtesy of the Artist and Steven Wolf Fine Arts, San Francisco.

Today from our partners at Art Practical, we bring you a review of Matt Borruso’s recent solo show Wax House of Wax, which closes today at Steven Wolf Fine Arts in San Francisco. Author Danica Willard Sachs notes, “Like a Surrealist, Borruso manipulates the banal, challenging viewers to see the horror underlying the everyday.” This review was originally published on October 23, 2014. In Wax House[…..]