Photography

From the Archives – Andrew Moore: Dirt Meridian at Yancey Richardson Gallery

Andrew Moore. First Light, Cherry County, Nebraska, 2013. Courtesy of Andrew Moore & Yancey Richardson

With the U.S. Bureau of Reclamation’s recent announcement that California’s Central Valley farmers will not receive any contracted federal water for the second year in a row, the photographic work of Andrew Moore is a bleak reminder of the state’s ongoing water crisis.  Author Nandita Raghuram describes the artist’s aerial photographs of the 100th meridian as “sweeping views of windswept houses, splintered earth, and prairie grass[…..]

Feast: Radical Hospitality in Contemporary Art at the Weisman Art Museum

Red76. Occupy Yr. Home Dinner, 2012; performance and installation, Chicago.

The exhibition Feast: Radical Hospitality in Contemporary Art originated with the University of Chicago’s Smart Museum of Art in 2012. Since then, it has had stops at the Blaffer in Houston, SITE Santa Fe, the Gund Gallery at Kenyon College, and is now on view at the University of Minnesota’s Weisman Art Museum. Founded on the idea of examining artists’ invocations of food as a[…..]

Daniel Dallabrida: Building the Noble Ruin at the Anderson Art Ranch

Daniel Dallabrida. Upon Reflection (Life) Fraternitas Misericordia in pace prima del diluvio / At Peace Before the Deluge, 1964–2015; Edition of 15. 100 x 132 in. Courtesy of the Artist and Anderson Art Ranch.

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, Kristin Carlson reviews Building the Noble Ruin at the Patton-Malott and Gideon Gartner Galleries of Anderson Art Ranch in Snowmass Village, Colorado.  Excavated from iconic gay culture[…..]

Outsider Art Fair 2015

Edward Deeds. Untitled, 1936–66; installed at Hirschl and Adler Modern, Outsider Art Fair 2015. Photo: Lia Wilson.

The 2015 Outsider Art Fair, held at Center 548 in the Chelsea gallery district of New York City, marked the twenty-third iteration of the event. It also occurred within a season of mainstream museums prominently featuring the work of so-called outsider artists in very high-profile, insider art spaces. Judith Scott: Bound and Unbound, the artist’s first retrospective, was held at the Brooklyn Museum in the[…..]

Oscar Muñoz: Sedimentaciones at the University of South Florida Contemporary Art Museum

Oscar Muñoz. Sedimentaciones, 2015; installation view. Courtesy of the Artist, the University of South Florida Contemporary Art Museum, Tampa, and the Ella Fontanals-Cisneros Collection, Miami.

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, Danny Olda reviews Oscar Muñoz: Sedimentaciones at the University of South Florida Contemporary Art Museum in Tampa.  The gallery is dark save for the surface of three[…..]

The Disappeared at Gallery 44 Centre for Contemporary Photography

Zoë Heyn-Jones. Atitlán 1 (Feliz Viaje), 2014; ink-jet print on celluloid; 36 x 150 in. Courtesy of the Artist and Gallery 44 Centre for Contemporary Photography.

In The Disappeared, artists Tatiana Grigorenko and Zoë Heyn-Jones rewrite history through still and moving images. In the current exhibition at Gallery 44 Centre for Contemporary Photography, Grigorenko and Heyn-Jones negotiate their relationships with their ancestors and origins through altered photographs and Super 8 film. With disarming honesty, they interrogate the ways in which their private memories and personal realities overlap and diverge. This fissure between[…..]

From the Archives – Archive State at the Museum of Contemporary Photography, Columbia College

Akram Zaatari, Dance to the End of Love, 2011; four-channel video installation; 22 mins. Installation view at MUSAC. Courtesy the artist and Sfeir-Semler Gallery, Hamburg/Beirut.

Today from our archives, we bring you a (re)consideration of an exhibition about archives. Author Liz Glass analyzes the work that was on view at the Museum of Contemporary Photography in 2014 and notes, “By re-presenting these events from recent history through […] fragmentary views, the exhibition reaffirms the tension between the body politic and the individual body, while posturing toward a way of writing history that is aggregate, collective,[…..]