Photography

All That Glitters Is Not Gold at the Phoenix Art Museum

Alfred A. Cohn. Untitled, c. 1920; platinum print. Courtesy of the Artist and the Center for Creative Photography, University of Arizona.

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, Christina Nafziger reviews All That Glitters Is Not Gold: Platinum Photography from the Center for Creative Photography at the Phoenix Art Museum in Phoenix, Arizona. In a world[…..]

Fan Mail: Marc Newton

Marc Newton. Constructed Paradise: Untitled 17, 2013; archival inkjet print; 17 x 21 inches.  Courtesy the artist.

The waning glow of the warm desert sun hangs in the air around a lone female figure. She sits nestled atop a rock formation amid yellow grasses and low, twisted trees. As she gazes lovingly toward the fading sun with trim arms folded over her legs, a sense of hard-earned and well-deserved calm settles in, as though this communication with the landscape has rejuvenated her[…..]

Ayana V. Jackson: Archival Impulse at 33 Orchard

Ayana V. Jackson. Prototype/ Phenotype, 2013; archival pigment print; edition of 6 and 3 artist proofs; 39.4 x 45.5 in.

Ayana V. Jackson’s exhibition An Archival Impulse claims to take inspiration from Hal Foster’s idea that, through confronting the archive, new systems of knowledge can be created. Jackson’s artistic interrogation targets representations of non-European bodies during the 19th and 20th centuries, a period of significant colonial expansion in Africa and the Americas. This history of representation comprises a vast field of imagery and thousands of[…..]

Burning Down the House at Pasadena Museum of California Art

Jo Ann Callis. Salt, Pepper, Fire, 1980; dye transfer print; 22 ½ x 17 ½ in. Courtesy of the Artist.

A woman in a long skirt spins dervishly against a mauve background while a wooden sculptural lamp in the shape of an embracing couple dominates the foreground. A man with two faces simultaneously laughs and cries behind a potted houseplant. The scene of a one-night stand is recorded in minute detail in the Polaroids left by a bed. Two clay women battle over a chintzy[…..]

The Female Gaze at the Atrium Gallery at Haverford College

The Atrium Gallery at Haverford College is a smaller venue than the works of Diane Arbus and Carrie Mae Weems have seen in the past year; their works have appeared in the Victoria and Albert Museum in London and the Studio Museum in Harlem, New York, respectively. Yet here they are in the periphery of Philadelphia, along with the likes of Nan Goldin, Vivian Maier, and[…..]

Jessamyn Lovell: Dear Erin Hart at SF Camerawork

Jessamyn Lovell. Following 6 (Fence), 2014; digital print on vinyl; 96 x 133 in. Courtesy of the Artist and SF Camerawork, San Francisco.

From our sister publication Art Practical, today we bring you a review of artist Jessamyn Lovell’s surveillance photography—artwork that has an incredible backstory. Author Genevieve Quick notes, “By leaving the project open-ended, Lovell smartly expands the work beyond revenge and allows viewers to consider its complexities through their own moral codes.” This article was originally published on September 25, 2014. In Jessamyn Lovell’s exhibition Dear Erin Hart,[…..]

Pablo Guardiola: Maintenance Yard at Romer Young Gallery

Pablo Guardiola. Sharks 1, 2014; digital C-print, 10 x 15 in. Courtesy of Romer Young Gallery, San Francisco.

Today from our sister publication Art Practical, we bring you a review of Pablo Guardiola’s Maintenance Yard at Romer Young Gallery in San Francisco. Author Genevieve Quick notes, “Guardiola positions history as an active investigatory process rather than a passive reiteration of fact.” This article was originally published on September 25, 2014. Having lived in San Francisco and currently residing in San Juan, in his native Puerto Rico,[…..]