Installation

In Conversation with Artist Tiff Massey

Tiff Massey. Facet, 2013. Courtesy of the Library Street Collective.

Today, from our new friends at Arts.Black, we bring you an interview with Detroit-based metalsmith artist Tiff Massey by Taylor Renee Aldridge. They discussed “socio-politics in Detroit, ’80s bling, and Massey’s rigorous art practice.”  Massey speaks of symbolism and color in her work, explaining “I keep going back and forth to the use of the mirror, the cameo, this oval shape [points to massive rings[…..]

Hammer Projects: Simone Leigh

Simone Leigh. "Althea", 2016; Terra-cotta, India ink, porcelain, cobalt and epoxy. Courtesy of the Artist and the Hammer Museum. Photo: Brian Forrest.

Colony Little explores Simone Leigh’s first West Coast solo exhibition at the Hammer in Los Angeles.

Fiamma Montezemolo: The Secret at Kadist, San Francisco

Fiamma Montezemolo. Neon Afterwords (The Secret installation view), 2016; LED lights and text. Courtesy of the Artist and Kadist, San Francisco. Photo: Jeff Warrin.

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, Leila Easa reviews Fiamma Montezemolo: The Secret at Kadist in San Francisco. Like many other fascinating thought exercises, artist and anthropologist Fiamma[…..]

From the Archives – Anthony Discenza Presents A Novel: An Exhibition by Anthony Discenza at Catharine Clark Gallery

Anthony Discenza.

Fiamma Montezemolo’s The Secret just opened at Kadist SF, and Montezemolo’s solo show has us thinking about books, selves, and Borges. Just as Montezemolo deploys redaction of and extraction from Jorge Luis Borges’ short story “The Anthropologist” to draw us into The Secret, so did Anthony Discenza create what has been described as a Borgesian universe (that leads off with a quotation from Borges) of[…..]

Kapwani Kiwanga: Ujamaa

Kapwani Kiwanga. White Gold: Morogoro, 2016; installation; 236 x 196 x 157 in. Courtesy of La Ferme du Buisson. Photo: Emile Ouroumov.

In a major solo exhibition, Ujamaa, at La Ferme du Buisson in the Parisian suburb of Noisiel, Kapwani Kiwanga addresses Tanzania’s uprisings. Known for using methodologies from the social sciences without being didactic, the artist draws on two significant moments in the history of the eastern African country to remember and question the ideals of pan-Africanism. The first is the 1905 revolt of Kinjeketile Ngwale,[…..]

A Perfect Storm

Rokni Haerizadeh. But a Storm is Blowing from Paradise. Photo: Ramin Haerizadeh. (© the artist; courtesy the Solomon R. Guggenheim Museum)

From our friends at REORIENT, today we bring you author Nur Shkembi’s thoughts on subversive practices in the Guggenheim’s exhibition of Contemporary Middle Eastern and North African Art, But a Storm Is Blowing from Paradise. Shkembi states, “This notion of art as a subversive practice is not new; however, redefining the material itself as the place from which ideas are ‘smuggled in’ is certainly compelling.” But a Storm Is Blowing[…..]

Fan Mail: Suchitra Mattai

Suchitra Mattai. Generally, I don’t think that way II, 2016; mixed media installation; dimensions variable. Courtesy of the Artist. Photo: Wes Magyar.

Suchitra Mattai’s work turns about conceptual and material inversions. It thrives on site-specificity while rejecting its basic premise—that specificity necessarily connotes place-ness. Having been raised on two separate continents and with cultural heritages tracing back to a third, Mattai is familiar with incongruities between the illusory promise of place and her lived experiences. Her practice is disjointed and dreamlike, yet throughout her uneasy landscapes runs[…..]