Photography

Malick Sidibe at Jack Shainman Gallery

Malick Sidibe, Soiree, silver gelatin print, 1972-2008. Courtesy of the artist and Jack Shainman gallery, New York.

The photographs of Malick Sidibé remind us how the political content of an image can shift and evolve under the unpredictable influences of time and the arrival of new contexts. Currently on view at Jack Shainman Gallery, Sidibé’s work is a mix of black-and-white portraits and candid shots of local people from his native Bamako, Mali. The artist first began his work in photography by[.....]

Yee I-Lann: Picturing Power at Tyler Rollins Fine Art

Yee I-Lann. Picturing Power: Wherein one nods with political sympathy and says I understand you better than you understand yourself, I’m just here to help you help yourself, 2013; Giclée print on Hahnemüle Photo Rag Ultra Smooth Fine Art, 310 gsm 100% cotton rag paper, 25 x 25 inches. Courtesy of the artist and Tyler Rollins Fine Art.

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, Bansie Vasvani reviews Picturing Power at Tyler Rollins Fine Art in New York City Yee I-Lann’s solo exhibition Picturing Power at Tyler Rollins Fine Art, New York, is[.....]

Sarah Lucas: Nud Nob at Gladstone Gallery

Sarah Lucas.
Chicken Knickers, 2014;
Digitally printed wallpaper.
Photo: David Regen.
Copyright Sarah Lucas.
Courtesy Gladstone Gallery, New York and Brussels

The circulation of images from Sarah Lucas’ Nud Nob, now at Gladstone Gallery, on social media and elsewhere seems bound to be both blessing and curse. On the one hand, shots of enormous concrete penises resting on crushed automobiles, or a series of floor-to-ceiling photographs of a woman consuming a banana, really propagate themselves, which makes for great publicity. But those who encounter these images are[.....]

Paz Errázuriz/Matrix 251 at the Berkeley Art Museum/Pacific Film Archive

Paz Errázuriz. La Palmera, Santiago, from the series La manzana de Adán, 1982; gelatin silver print, 19 2/3 x 23 ½ in. Courtesy of the Artist and Galeria AFA, Santiago.

Today from our partner Art Practical, we bring you a review of photographer Paz Errázuriz’s work, on view through tomorrow at the Berkeley Art Museum. Author Danica Willard Sachs notes, “By immersing the viewer in the peripheries of Chilean society, into the brothels and gyms populated by socially isolated men, Errázuriz’s photographs not only put an individual face on oppression, they also highlight a resilience inherent[.....]

Lalla Essaydi: New Beauty at Jenkins Johnson Gallery

Lalla Essaydi. Bullets #5, 2009; chromogenic print; 48 x 60 in. Courtesy of the Artist and Jenkins Johnson Gallery, San Francisco.

From our sister site Art Practical, today we bring you a review of Lalla Essaydi’s photographs now on view at at Jenkins Johnson Gallery in San Francisco. Author Danica Willard Sachs notes that in Essaydi’s work, “the effect of the ceremonial fabrics and calligraphy is to flatten the women into almost abstract images that retreat into the background like furniture.” This article was originally published on February[.....]

Fan Mail: Wendy Given

Wendy Given. On Myth and Magic No. 5: Eclipse, 2009; C-Print; 17.25” x 26” inches. Photo courtesy of the artist.

Mythos: fantasy, fiction, legend, saga, parable, fable, narrative, invention, fabrication, yarn. The conceptual distance between myth and the concrete manifestations of mythology is a potentially endless—yet meaningfully orderable—list of synonyms. But with each word the gap shrinks, as mental images of processes and then objects emerge, even if just as puns. Wendy Given is bridging the gaps between the abstract idea of a mythos and[.....]

Subverting the Sublime: Wondermountain at Penrith Regional Gallery

Hua Tunan, Fluorescent impression shanshui, 2013, spray paint, 300 x 500, image courtesy the artist

It seemed entirely appropriate that my journey to see Wondermountain at the Penrith Regional Gallery and Lewers Bequest was through rain, a concrete landscape of freeways and overpasses obscured by my windscreen wipers. I arrived beside the swollen Nepean River, the Blue Mountains shrouded in mist, reflecting on the continuing importance of shanshui (mountain/water) painting. A poetic approach to representing landscape evolving from the Tang Dynasty, the[.....]