Reviews

From the Archives – Time After Time: The Clock at SFMOMA

Christian Marclay, video still from The Clock, 2010; single-channel video with stereo sound, 24 hours; courtesy the artist and Paula Cooper Gallery, New York. All photos from Christian Marclay: The Clock; San Francisco Museum of Modern Art

In June 2013, the San Francisco Museum of Modern Art closed its doors to begin a massive expansion project. This weekend is the first public reopening of the museum, which now holds the status of the largest museum (by square footage) dedicated to modern art. Today we bring you a flashback to those last few hours at SFMOMA three years ago, when Christian Marclay’s The Clock[…..]

Carmen Argote: Mansión Magnolia at Shulamit Nazarian

Carmen Argote. Black Chairs, 2016; archival inkjet print; 58 x 80 in. Courtesy of the Artist and Shulamit Nazarian.

Expressions of both individual psychology and grand family histories are easily found in the architecture of a past home. These two narratives are counterintuitive yet closely related. When a family invests in a house, apartment, or some shared space, its interiors, like one’s mind, can feel simultaneously claustrophobic and inexhaustibly complex, and revisiting a former home can bring up fraught confrontations with descendants and sentimentality.[…..]

Robert Irwin: All the Rules Will Change at the Hirshhorn Museum

Robert Irwin. Bed of Roses, 1962; ©2016 Robert Irwin / Artists Rights Society (ARS), New York.

Robert Irwin has had a number of distinct careers as an artist, each with a distinct group of peers and beliefs. All the Rules Will Change presents the best known but least seen of these careers: the studio painter of the 1960s, who began the decade as a conventional Abstract Expressionist, and ended it by closing his studio and abandoning a practice of painting that[…..]

“The Accursed Share” at Artspeak

Deborah Edmeades. Blinking and Other Involuntary Portals, 2016; rocks, wood, paint, false eyelashes, galvanized wire, polyester resin, electromagnetic circuits, solar panels, mount board, monitors, cameras, glass. Courtesy of Artspeak. Photo: Blaine Campbell

The first thing I encounter upon entering “The Accursed Share” at Artspeak is a scent. “A fancy grandma’s house,” my gallery companion assesses. The scent emits from Aleesa Cohene’s You, Dear (2014), in which a large bunch of faux grapes is placed on the floor. Upon closer inspection, the decorative fruit is something much more elegant—in fact, it’s opulent. Each grape is made from the[…..]

From the Archives – Weaving, Not Cloth: Mark Bradford at SFMOMA

Mark Bradford, Potable Water, 2005; billboard paper, photomechanical reproductions, acrylic gel medium, and additional mixed media; 130 x 196 inches; collection of Hunter Gray; © Mark Bradford; photo: Bruce M. White

We always like to see artist Mark Bradford’s name pop up in the press. Of course, there’s the fantastic news that Bradford will be representing the U.S. in this year’s Venice Biennale, in addition to last week’s cheekily delivered critique of art auctions (while onsite at Christie’s). Today, we’re republishing Bean Gilsdorf’s meditations on the tactility of Bradford’s work in relation to textiles. This article[…..]

Ghazel: Mea Culpa at Carbon 12

Today, from our friends at REORIENT, we bring you a review of Ghazel’s latest solo exhibition, Mea Culpa, on view at Carbon 12 in Dubai through May 9. Author Sayantan Mukhopadhyay says of the artist, “Her interventions—which start with materials and symbols inherently laden with meaning—speak about the itinerant lives in a manner that is refreshing when placed in conversation with the many other contemporaneous works[…..]

Robert Mapplethorpe: The Perfect Medium at the Getty and LACMA

Robert Mapplethorpe. 
Joe, N.Y.C., 1978 (from The X Portfolio);
selenium toned gelatin silver print mounted on black board; image: 7 11/16 × 7 11/16 in. Jointly acquired by the J. Paul Getty Trust and the Los Angeles County Museum of Art; partial gift of The Robert Mapplethorpe Foundation; partial purchase with funds provided by the J. Paul Getty Trust and the David Geffen Foundation, 2011.9.41.6 © Robert Mapplethorpe Foundation

Robert Mapplethorpe is forever associated with scandals that erupted at the Corcoran Gallery of Art and the Contemporary Art Center Cincinnati, as well as the crippling drawdown of federal funding that rendered the National Endowment for the Arts a casualty of the late-1980s culture wars. More recently, Mapplethorpe, or the foundation that bears his name, made headlines with two significant acquisitions made by the J.[…..]