Reviews

Jacob Lawrence: Promised Land at the Cantor Arts Center

Jacob Lawrence. Ordeal of Alice, 1963; egg tempera on hardboard; 24 x 20 in. Gift of Dr. Herbert J. Kayden and Family in memory of Dr. Gabrielle H. Reem, 2013.98. © 2015 The Jacob and Gwendolyn Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York. Courtesy of the Cantor Arts Center, Palo Alto.

From our partners at Art Practical, today we bring you Lea Feinstein’s review of Jacob Lawrence: Promised Land at the Cantor Arts Center of Stanford University. Feinstein notes: “In drawing inspiration from iconic works of art history, Lawrence indicated that the stories he painted were part of the larger human context, not just specific to the African American experience.” This article was originally published on May 26, 2015.[…..]

Jaime Davidovich: Adventures of the Avant-Garde at the Bronx Museum

Jaime Davidovich. Blue/Red/Yellow, 1974; three video installations; dimensions variable. Courtesy of the Artist and Henrique Faria, New York.

Spread about a large rear gallery at the Bronx Museum, this exhibition surveys various bodies of work by the Argentine American artist Jaime Davidovich. At the entrance of the show, alongside the explanatory wall text, a small monitor atop a pedestal plays the video that lends the exhibition its title, Adventures of the Avant-Garde. In this 1981 short loop, Davidovich takes on a role that[…..]

Entang Wiharso: Never Say No at Singapore Tyler Print Institute

Entang Wiharso. Shelter: Forest of Eyes, 2015; Aluminium sheet, laser cut, C-type print; 127 × 184 × 3 cm. Courtesy of STPI.

Set in profile, a man casts a doleful eye on a smaller figure that perches on his forehead and pulls insistently at his tongue, while a miniature chainsaw balances threateningly on his head. The palm of his hand is pierced with a plant-like dagger, and little bodies tumble out feet-first from the bottom of his torso, already bearing knives and swords in preparation for a skirmish.[…..]

Verónica Bapé and José Porras: Filtros at Diagrama

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Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. For the next four Sundays, our Shotgun Reviews will come from the finalists for the Daily Serving/Kadist Art Foundation Writing Fellowship in Mexico City. In today’s edition, author Marisol Rodríguez reviews the work of Verónica Bapé and José Porras at Diagrama in Mexico City. In[…..]

Doug Hall: The Terrible Uncertainty of the Thing Described at SFAI

Doug Hall. The Terrible Uncertainty of the Thing Described, 1987; video still, San Francisco Art Institute, Walter and McBean Galleries. Collection of SFMOMA, purchased through a gift of the Modern Art Council and the San Francisco Art Dealers Association. © Doug Hall. Photo: Gregory Goode.

Today from our partners at Art Practical, we bring you a review of Doug Hall’s The Terrible Uncertainty of the Thing Described, currently on view at the Walter and McBean Galleries of the San Francisco Art Institute. Author Maria Porges notes: “Perhaps the most fascinating thing about Hall’s seminal work is its quality of timelessness.” This article was originally published on May 21, 2015. In 1989, the San Francisco[…..]

Tutti Frutti at Turps Gallery

Carla Busuttil. It Ended in Houghton, 2015; oil on canvas; 40 x 30 cm (15.75 x 11.81 in). Courtesy of the Artist and Turps Gallery, London. Photo: Adam Rompel

Painting is to art as royalty is to democracy; it defensively justifies its own significance while continuing to hold court. There are many reasons why painting continues in this coveted pretense, but perhaps it can be mainly attributed to the limitations of its purpose. Any painter knows that the enchantment of painting lies in its classification. No matter how far the medium is pushed, as[…..]

William Larson: Fireflies at Gitterman Gallery

William Larson. Untitled, 1971; electro-carbon print; 11 x 8 ½ in. © William Larson. Courtesy Gitterman Gallery.

The constant stream of digital information traveling around us over wires and airways is an increasingly recognized phenomenon. Over the past two decades, many artists have begun exploring the seemingly limitless possibilities of digital communication. However, long before the integration of once-mysterious electronic media into the art world in the 1990s, William Larson used a Graphic Sciences DEX 1 Teleprinter to produce some of the[…..]