Reviews

The Hidden Passengers at apexart

Guido van der Werve. Nummer zeven (the clouds are more beautiful from above), 2006; video projection, 8:48 min (video still). Courtesy of apexart.

Before the Enlightenment elevated empiricism and introduced the notion of “pseudoscience” as its foil, religion, magic, and science coexisted on a relatively level plane. Today, art remains one of few arenas that have been able to sidestep Enlightenment mandates; here, the exploration of ideas is not confined to the reproducibility of empirical data, allowing for a more unconstrained examination of the nature of things. The[.....]

Jeff Koons: A Retrospective at the Whitney Museum of American Art

Jeff Koons, Michael Jackson and Bubbles, 1988. Porcelain; 42 x 70 1⁄2 x 32 1⁄2 in. (106.7 x 179.1 x 82.6 cm). Private collection. © Jeff Koons

At the press preview for Jeff Koons: A Retrospective, more than one member of the Whitney Museum’s curatorial staff urged visitors to dispense with “preconceived notions” about Koons and embrace the exhibition as an opportunity to view the artist’s perhaps too-well-known oeuvre with fresh eyes. One of the largest retrospectives the Whitney has ever mounted, Jeff Koons sprawls across three floors in ascending chronological order,[.....]

Phyllida Barlow: Fifty Years of Drawing at Hauser & Wirth

Phyllida Barlow. Fifty Years of Drawing, 2014; installation view, Hauser & Wirth, London. Courtesy of the Artist and Hauser & Wirth. Photo: Alex Delfanne.

Phyllida Barlow has upped her game in the last five years with a string of international blockbuster shows and commissions. Omnipresent as she currently is, one would think that Barlow has always enjoyed this kind of success, but that isn’t the case; the work hadn’t received the kind of attention that anoints an artist as “successful” until her Baltic show in 2004. As she is in[.....]

Francis Bacon and Henry Moore: Terror and Beauty at the Art Gallery of Ontario

Henry Moore. Falling Warrior, 1956-57; 
bronze; 
65 x 154 x 85 cm. 
Tate Modern, London
 © The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013)

Francis Bacon and Henry Moore are known for producing curvilinear compositions and contorted human forms that often double back upon and swoop around themselves. In contrast, the Art Gallery of Ontario’s dual retrospective of the artists, titled Terror and Beauty, takes a distinctly linear approach. Passing over divergent biographical information about the artists (such as that Henry Moore was the son of a coal miner[.....]

Daughter of Bad Girls at Klaus von Nichtssagend

RI1001_sm

When asked why she had sculpted such pronounced, sugar-coated labia on A Subtlety, the mammy-sphinx recently on view at the Domino Sugar Factory in Brooklyn, Kara Walker answered, “[It’s about] ownership of the voluptuousness of an ass”; “a 10-foot vagina…is not something that happens in art often enough”; and “[It was] a fuck-you, I’m gonna do that because this is what I have…there are enough phallic[.....]

Anthony Friedkin: The Gay Essay at the de Young Museum

Anthony Friedkin.

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, Susannah Magers reviews Anthony Friedkin: The Gay Essay at the de Young Museum in San Francisco.   The first question a show about documentary work made more[.....]

Isabel Nolan: The Weakened Eye of Day at the Irish Museum of Modern Art

Isabel Nolan. The weakened eye of day, 2014; installation view, Irish Museum of Modern Art, Dublin. Courtesy of the CCA Wattis Institute. Photo: © Denis Mortell

Boldly and optimistically, a viewer might enter Isabel Nolan’s exhibition The Weakened Eye of Day with bright, wondering eyes. In Room 1, just on the right, is Dreams of No Thing, No Time (2014), a small green-and-orange watercolor painting of a subject that likely looks familiar: the sun on the horizon. Broad brushstrokes swept in half circles across the canvas render the composition abstract and[.....]