Reviews

Living with Endangered Languages in the Technological Age at Root Division Gallery

Tessie Barrera Scharaga. Nahua-Pipil, the Forbidden Language of El Salvador, 2014; Mixed media installation, 
10 x 7 x 11 ft.

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, Nancy Garcia reviews Living with Endangered Languages in the Technological Age at Root Division in San Francisco. In Living with Endangered Languages in the Technological[…..]

Keith Haring: The Political Line at the de Young Museum

Keith Haring. A Pile of Crowns for Jean-Michel Basquiat, 1988; acrylic on canvas; 120 x 120 x 120 in. Courtesy of de Young Museum San Francisco. Collection of the Keith Haring Foundation. © 2014, Keith Haring Foundation.

From our partners at Art Practical, today we bring you Kara Q. Smith’s review of Keith Haring: The Political Line at the de Young Museum in San Francisco. Smith notes that the exhibition “…offers the chance not only to appreciate the artist’s work and iconic imagery from multiple perspectives (albeit sometimes dizzying at this scale), but most importantly the chance to bring new context to the work.”[…..]

Amanda Turner Pohan: The Signals Are Caressing Us at A.I.R. Gallery

2.	Amanda Turner Pohan. The Signals Are Caressing Us, 2015; installation view, A.I.R. Gallery, Brooklyn. Courtesy of A.I.R. Gallery.

In the back room of A.I.R. Gallery in Brooklyn, a scent dispenser exhales once an hour. A meandering plastic tube connects the dispenser to a six-and-a-half-gallon jug on the floor near the center of the room. The jug contains the concentrated form of a custom-formulated perfume derived from sensors that measured the carbon dioxide exhaled by the artist Amanda Turner Pohan during thirteen unique orgasms.[…..]

Pierre Huyghe at LACMA

Pierre Huyghe. Untitled (Human Mask), 2014. Film. Courtesy of the artist; Hauser and Wirth, London; Marian Goodman Gallery, New York; Esther Schipper, Berlin; Anna Lena, Paris. © Pierre Huyghe

There is a scene in Pierre Huyghe’s shadowy, dreamlike film The Host and the Cloud (2010) in which a woman produces a black rabbit from an unmarked box. No magician, she handles the unexpected animal with a mixture of bewilderment and acute apprehension. Later in the film, she confronts the event during hypnotherapy; then, in a key conversion, she watches her own analysis session performed[…..]

From Beijing: Beijing Voice and Zhang Xiaotao at Pékin Fine Arts

Beijing Voice 'Unlived By What is Seen' installation view courtesy Pace Beijing

There has been noise of late about the supposedly derivative nature of contemporary art, about questionable curatorial practices, and about the piratical behavior of the art market. “Zombie Formalism” and “Crapstraction” are glib, voguish—although, it must be said, amusing—terms that have been thrown around. Whatever you may think about this critique of current tendencies in abstract painting, it seems that all is not well in the world[…..]

Pierre Huyghe at LACMA

Pierre Huyghe. This is not a Time for Dreaming, 2004 (film still); transferred from 16mm film, 24:00; Courtesy of the Artist and Marian Goodman Gallery, Paris/New York. Photo by Michael Vahrenwald.

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, Scott Norton reviews Pierre Huyghe’s solo exhibition at the Los Angeles County Museum of Art. Entering the retrospective exhibition Pierre Huyghe at the Los Angeles[…..]

Totems Not Taboo at Newcomb Gallery

Hew Locke. Installation View of The Nameless, 2010-2014; at Newcomb Art Gallery for Prospect.3: Notes for Now, a Project of Prospect New Orleans, October 25, 2014 - January 25, 2015. Courtesy of the artist and Hales Gallery, London, Photo © Scott McCrossen/ FIVE65 Design

January 6 was the official start of the Carnival season in New Orleans. Totems Not Taboo, an exhibit at Newcomb Art Gallery as part of Prospect.3: Notes for Now, is an ode to Jermayne MacAgy’s 1959 exhibit of the same name at the Museum of Fine Arts Houston. MacAgy assembled one of the largest exhibitions of primitive art and displayed them as objects of fine[…..]