Photography

Nature/Revelation at the Ian Potter Museum

Berndnaut Smilde, 
Nimbus D'Aspremont
2012
digital C-type print mounted on diabond
75 x 110 cm 
Courtesy the artist and Ronchini Gallery, London

Entering Nature/Revelation, in the rather hushed surrounds of Melbourne University’s Ian Potter Museum, the first thing visitors encounter is an enormous sperm whale. Looming in the darkened space, it has a startling presence and gravitas, even more so when you realize it’s a graphite drawing. Its skin is pitted, marked and scarred by travels through a world still mysterious to us, and its tiny eye regards us mournfully.[…..]

Mark Steinmetz: South at the Ogden Museum of Southern Art

Mark Steinmetz. Off I-40, Knoxville, TN. 1993. Silver gelatin print. Image: Courtesy of the Ogden Museum of Southern Art, New Orleans.

Mark Steinmetz’s current exhibition at the Ogden Museum of Southern Art has narrative ambition, but also asks difficult questions about the meaning of “straight photography” and its relationship to the documentary tradition. In what sense are documentary photographs social records, deadpan descriptions, or allegorical explications of the artist’s worldview? Are they a series of facile maneuvers, or as critic Garry Badger once claimed, “an existential[…..]

Miriam Böhm: At On at Ratio 3

Miriam Böhm. Equally III, 2015; chromogenic print; 23 x 29 in. Courtesy of the Artist and Ratio 3, San Francisco.

From our partners at Art Practical, today we bring you a review of Miriam Böhm’s current solo show at Ratio 3 in San Francisco. Author Danica Willard Sachs notes that the work has “a surreal dimensionality, with lines and planes that intersect in unusual ways, suggesting a simultaneous depth and flatness that refuses to resolve neatly into one or the other.” This article was originally published on April 14,[…..]

Margret: Chronicle of an Affair at White Columns

3.	Margret: Chronicle of an Affair—May 1969 to December 1970, 2015; detail. Courtesy of White Columns / Delmes & Zander.

Art-historical borders cease to have validity if they stand in the way of new theoretical connections and investigations.

Trevor Paglen at Altman Siegel Gallery

Trevor Paglen. Circles, 2015 (video still); video; 12:00. Courtesy of the Artist and Altman Siegel, San Francisco.

From our partners at Art Practical, today we bring you a review of Trevor Paglen’s current exhibition at Altman Siegel Gallery in San Francisco. Author John Zarobell writes, “[The work] represents both a bit of art-historical posturing and an active response to government surveillance that allows viewers to imagine an alternative to our current condition. Perhaps a gallery is as good a place as any to[…..]

Ewa Stackelberg: Fotogram at Fotografiska

Ewa Stackelberg. Divan Grottan, 2011; photogram; Divan series. Courtesy of Ewa Stackelberg and Fotografiska.

In October 1997, Ewa Stackelberg’s husband died in a plane accident in Costa Rica. Among the belongings sent to her after the tragedy was her husband’s camera, which had been smashed to pieces in the crash—almost like a foreshadowing of the turn that Stackelberg’s life and practice would take in the years to come. In the search for a new artistic language to express her grief,[…..]

Linear Abstraction at the SCAD Museum of Art

Phillip Stearns. Linear Abstraction, 2015; installation view. Gutstein Gallery, Savannah College of Art and Design, Savannah, Georgia. Courtesy of the Savannah College of Art and Design. Photo: Marc Newton.

Abstraction is dead! Long live abstraction! In Linear Abstraction, the SCAD Museum of Art negotiates the status of nonrepresentational work as it exists in the 21st century and includes work in various media, including painting, sculpture, photography, and digital formats. While the exhibition seeks to trace commonalities between contemporary practices by engaging somewhat diverse uses or ideas of lines, the resulting effect points succinctly to[…..]