Fan Mail: Carla Jay Harris

Carla Jay Harris. Teresa Cooper 1947, 2012; archival pigment print. 20 x 30 inches. Courtesy of the artist.

There is a profound stillness in Carla Jay Harris’ photographs—her framing and shooting style emits a pervasive calm that quiets the anxiety of her subject matter. Harris’ ability to create silence amid moments of emotional upheaval is eerie, tense, and evocative. Two bodies of work portray people and places in the midst of economic and cultural change; Dirt, Dust, Sand, Concrete (2012–2015) shows Smithfield, Virginia,[…..]

Marion Belanger: Rift/Fault – Landscape Photographs of the North American Continental Plate at Haverford College

Marion Belanger. Rift #51 (Geothermal pipes alongside a road at Hengill, Iceland), 2011; Fault #26 (North Shore, Salton Sea, CA), 2012; archival pigment print; 18.5 x 14.8 in. Courtesy of the Artist and Atrium Gallery, Haverford College.

Northward light fills the gallery upon entering Marion Belanger’s exhibition Rift/Fault. The exhibition, currently on view at Haverford College, contains roughly two dozen pairings of photographs drawn from Belanger’s decade-long investigation into the geography and geology of an unseen tectonic boundary: the North American Continental Plate. Along the edges of the plate lies the Mid-Atlantic Rift in Iceland, bisecting and pulling the small nation apart, and[…..]

Jillian Mayer: Touchers at Aspect/Ratio

Jillian Mayer. 34.11° N, -118.26° W at 53’ inches, 2015; 46.2 x 26 in. Photograph printed on fabric. Courtesy of the Artist, Aspect/Ratio Chicago, and David Castillo, 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, Nicole Lane reviews Jillian Mayer: Touchers at Aspect/Ratio in Chicago. Jillian Mayer’s first solo exhibition in Chicago, Touchers, features two photographic works and a video installation[…..]

Richard Misrach: Being(s) 1975–2015 at Fraenkel Gallery

Richard Misrach. Kodak, Donna, Debra, Jake, Oregon Coast, 1984; pigment print; 61 1/2 x 76 1/2 in. © Richard Misrach. Courtesy of Fraenkel Gallery, San Francisco.

From our partners at Art Practical, today we bring you Brian Karl’s review of Richard Misrach: Being(s) 1975–2015 at Fraenkel Gallery in San Francisco. Karl notes: “Misrach’s technical and compositional treatments produce a distancing effect that imbues the human figures with a kind of impotence.” This article was originally published on May 19, 2015. This Fraenkel Gallery survey of more than thirty years of Richard Misrach’s photography primarily[…..]

Eleanor Oakes at Tyler Wood Gallery

Eleanor Oakes. Panchromatic 1, 2015; silver gelatin print; 8 x 10 in. (matted); edition of 5 + 1 AP. Courtesy of the Artist and Tyler Wood Gallery.

Today from our partners at Art Practical, we bring you a review of Eleanor Oakes’ solo exhibition at Tyler Wood Gallery in San Francisco. Author Anton Stuebner notes: “In aestheticizing the random distortions effected onto this film stock, Oakes shows how time marks material substances with a distinctive presence.” This article was originally published on May 14, 2015. Our bodies leave behind innumerable traces: dead skin, soil,[…..]

Nature/Revelation at the Ian Potter Museum

Berndnaut Smilde, 
Nimbus D'Aspremont
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[…..]