Mixed Media

Fan Mail: Susan Cantrick

Susan Cantrick. Sbc 177, 2014; mixed media (acrylic, pastel, and pencil) on paper; 26 x 29 inches. Image courtesy of the Artist.

Though Susan Cantrick’s paintings are composed mostly of abstracted planes of color, they defy any notion of flatness. The more one looks at Cantrick’s rich fields of color and intricate sections of textured patterning, the more her uniquely layered perspective comes into view. Cantrick regularly employs many of the traditional elements of painting: scale, shape, color, tone, line, perspective, and texture. However, she mixes these traditional[.....]

Witness: Art and Civil Rights in the Sixties at Brooklyn Museum

Sam Gilliam. Red April, 1970; acrylic on canvas, 110 x 160 in. Courtesy of the Iowa Museum of Art, Gift of the Longview Foundation.

As someone born two decades after the Civil Rights Act of 1964, I received visual access to the civil-rights era predominantly through photographic documentation. Black-and-white photos in history books, documentary films, and microfilm of front-page newspaper stories shaped my understanding of the period, suggesting a more or less linear sequence of events. Witness: Art and Civil Rights in the Sixties, now at the Brooklyn Museum,[.....]

A Producer’s Journal, or Judgment A-Go-Go

Stephanie Syjuco, Shadowshop, 2010; installation view, San Francisco Museum of Modern Art. Courtesy of the Artist; © Stephanie Syjuco.

From our San Francisco partners at Art Practical, today we bring you curator Frank Smigiel‘s essay on considering regional contemporary art. He notes, “If I can skip the jet-setting of the global contemporary, it is because my people and purposes are here and not there.” This essay was originally published in Contemporary Art: 1989 to the Present (Hoboken: Wiley-Blackwell, 2013) and is republished here with permission from the author. It appeared[.....]

Michael Riedel: Laws of Form at David Zwirner, London

Michael Riedel. Laws of Form, 2014; installation view, David Zwirner, London. Courtesy the Artists and David Zwirner, New York/London.

“There’s no content being produced, because I’m in the first generation that grew up digital…. We are just transferring all the time: tape, CDs, and now the clouds.”[1] Something radical has been happening for a while in art that has been evading easy classification. The digital fold has facilitated a giant mash-up of layers upon layers of information composed from fragments of fragments. Sound bites, video[.....]

Senga Nengudi: The Material Body at the Museum of Contemporary Art, Denver

Senga Nengudi. R.S.V.P., 1976/2003; nylon mesh and bicycle tire; 20 x 26 x 12 in. Courtesy the artist and Thomas Erben Gallery, New York.

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, Deanne Gertner reviews Senga Nengudi: The Material Body at the Museum of Contemporary Art in Denver.   In her solo exhibition The Material Body at Museum of[.....]

Mike Nelson: Amnesiac Hide at The Power Plant

Mike Nelson. Quiver of Arrows, 2010; mixed media. Courtesy of The Power Plant

Recently, it seems that when Toronto’s mayor isn’t making headlines, the city’s overheated condo market is. Getting to Amnesiac Hide, Mike Nelson’s exhibition at The Power Plant, is an exercise in navigating the realities of this fervor. Queen’s Quay, the city’s so-called “revived waterfront,” is undergoing a makeover in the midst of rising condo towers, which makes for a messy route to the gallery. But[.....]

Fan Mail: Christopher Manzione

Christopher Manzione. Excavatum Installation View, 2011. Image courtesy of the artist.

Christopher Manzione works with a number of mediums: sculpture, video, performance, drawing, digital rendering, mobile- and web-based applications, digital imaging, and 3D rendering. Across this plethora of forms, Manzione explores the perceived and actual divisions and overlaps between notions of digital vs. analog and organic vs. inorganic, as well as combinations of these two sets. Manzione strives to unite two distant poles without placing a[.....]