Reviews

Landscape City at Center for the Arts Eagle Rock

Jennifer Juniper Stratford. Still from Program Vista, 2014, video projection. Courtesy of the Artist. Photo by the author.

A crowd gathered under the rafters and art-deco chandeliers of the Eagle Rock Center for the Arts, and the fifteen-piece Aaron Olson Ensemble began with the low strum of a bass guitar, continued into a bright piano melody that later became the distorted sound of a nightmare, and finally moved into a powerful brassy conclusion without ever losing its warm aural undercurrents. Aaron M. Olson’s[…..]

The Black Radical Imagination II at REDCAT

Jeannette Ehlers. Still from Black Bullets, 2012; 4:33 min.

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, Noé Gaytán reviews The Black Radical Imagination II at REDCAT in Los Angeles. The notion of the black radical imagination stems from the writing of Robin D.G. Kelley,[…..]

The Female Gaze at the Atrium Gallery at Haverford College

The Atrium Gallery at Haverford College is a smaller venue than the works of Diane Arbus and Carrie Mae Weems have seen in the past year; their works have appeared in the Victoria and Albert Museum in London and the Studio Museum in Harlem, New York, respectively. Yet here they are in the periphery of Philadelphia, along with the likes of Nan Goldin, Vivian Maier, and[…..]

Chris Ofili: Night and Day at the New Museum

Chris Ofili. The Adoration of Captain Shit and the Legend of the Black Stars (Third Version), 1998; oil, acrylic, polyester resin, paper collage, glitter, map pins, and elephant dung on linen; 96 x 72 in. Courtesy of the Artist; David Zwirner, New York/London; and Victoria Miro, London.

Night and Day at the New Museum is the first retrospective of the artist Chris Ofili in the United States. While the show incorporates sculptures and drawings, it unmistakably showcases the artist’s bravery, skill, and reinvention in painting over the past thirty years. The six bodies of work that span three floors are fearlessly distinct; clearly this is an artist who has no interest in[…..]

From the Archives – Psychopaper at Piktogram

Ewa Ciepielewska (Luxus), untitled, 1984, watercolor, 99 x 68 cm. Courtesy of Piktogram/BLA, photo:

Today we bring you a look back at a small but remarkable exhibition in Warsaw that sought to expose the psychological effects of martial law in Poland in the 1980s. Though the political, intellectual, and emotional conditions that produced the artwork have a complicated background, author Bean Gilsdorf notes that, “viewers of this work needn’t have all the historical details to know that something is[…..]

Landscape: The Virtual, The Actual, The Possible? at Yerba Buena Center for the Arts

Changi, Singapore

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 Landscape: The Virtual, The Actual, The Possible? at Yerba Buena Center for the Arts in San Francisco. For much of art history, seventeenth-century[…..]

The Heart Is Not a Metaphor: Robert Gober at MoMA

Robert Gober. Installation view of Robert Gober: The Heart Is Not a Metaphor, The Museum of Modern Art, New York. Photo: Jonathan Muzikar. Courtesy of the artist and The Museum of Modern Art.

The Heart Is Not a Metaphor, the first large-scale survey of Robert Gober’s career to take place in the United States, is a testament to the breadth of the artist’s provocative articulation of those moments of cultural past that linger in the corners of peripheral vision—a lingering that keeps one unsettled. Queered, uncanny objects of the everyday radiate the trauma of the half-remembered event. In Gober’s untitled piece from 1997,[…..]