Painting

Deana Lawson & Henry Lawson

Henry Taylor. 
Where Thoughts Provoke, Getting Deep In Shallow Water, 2015; acrylic on canvas; 36 × 36 inches. Courtesy of the Artist and Blum & Poe, Los Angeles/New York/Tokyo.

Today from our friends at BOMB Magazine, we bring you a conversation between artists Deana Lawson and Henry Lawson. They speak about the commonalities of their practices, their travels, and the importance of color in their work. Lawson says of her photographs, “I often think of Carrie Mae Weems’s titles in the Colored People series, in which she names the nuances of black and brown bodies[…..]

Amir H. Fallah: All Experience Is an Arch at Hap Gallery

Students of metaphysics commonly debate about time and space as an arc—curving and perhaps boomeranging, to ends that are difficult to articulate. Los Angeles–based artist Amir H. Fallah, however, postulates the experience of time and space as something more solid and tangible, akin to a structure engineered for indiscriminate movement back and forth. All Experience Is an Arch at Hap Gallery is an experiential recounting[…..]

Cezary Poniatowski: No Center No Edges at Piktogram

Cesary Poniatowski. Untitled, 2016; acrylic on canvas, 180 x 145 cm. Image courtesy of Piktogram Gallery.

Cezary Poniatowski’s recent work at Piktogram Gallery compels viewers to navigate a veritable maze of pop-culture references and anthropological allusions. The exhibition is composed of more than twenty black-and-white acrylic paintings completed in 2015 and 2016, each depicting highly abstract, hybrid figures cavorting in confined, flat spaces reminiscent of comic-book panels. The recurrence of specific forms and motifs in the images creates the strong impression of a[…..]

Remix at the Columbia Museum of Art

Fahamu Pecou. Rock.Well (Radiant Pop, Champ) (after Norman Rockwell’s Triple Self Portrait), 2010; acrylic on canvas; 48 x 48 in. Courtesy of Scott and Teddi Dolph and Columbia Museum of Art, South Carolina.

The recent curatorial trend of probing the fringes of art history for artists who have been eclipsed by the canon of white, European, male artists is a noteworthy one. While shows that feature such artists—in many cases, those who are Black—are becoming more prevalent, organizers must take care to contextualize the work without reinforcing myths that persist. The curators of Remix: Themes and Variations in[…..]

Gabrielle Teschner: In the Offing at Irving Street Projects

Gabrielle Teschner. In the Offing, 2016; installation view. Courtesy of the Artist and Irving Street Projects.

Today from our partners at Art Practical, we bring you Vanessa Kauffman’s review of Gabrielle Teschner’s In the Offing at Irving Street Projects in San Francisco. The author notes, “Teschner’s works epitomize a high standard of craft, but by the same turn they destabilize ready-made, rigid perceptions of architectural perfection.” This article was originally published on March 29, 2016. “The offing” is the farthest point the eye can see when[…..]

Radiohalo at Blain|Southern

Michael Joo. Radiohalo, 2016; installation view. Courtesy of the Artist and Blain|Southern, London. Photo: Peter Mallet.

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, Adam Monohon reviews Michael Joo’s Radiohalo at Blain|Southern in London. At the center of debate between creationists and the scientific community over[…..]

From Minimalism into Algorithm at the Kitchen

From Minimalism into Algorithm, Phase 2; 2016; installation view, The Kitchen. Featuring works by John McCracken, Zoe Leonard, Andrea Crespo, and Cheyney Thompson. Courtesy of The Kitchen. Photo: Jason Mandella.

In a 1966 review, Rosalind Krauss described how one of Donald Judd’s “progression” wall reliefs pulled the rug from under her. Its intervallic sequence of supporting members suggested a Renaissance colonnade, but its variable spacing negated the compositional and spatial logic that this model prepared her to expect. “The work itself exploits and at the same time confounds previous knowledge to project its own meaning,”[…..]