Reviews

Ann Hamilton: The Common S E N S E at Henry Art Gallery

Ann Hamilton, the common S E N S E, 2014, courtesy of Henry Art Gallery, Seattle. Photo: Jonathan Vanderweit.

I was instantly drawn to the Siberian Rubythroat. It must have been the vibrant red flash of exposed underbelly that first caught my eye, but it was the bird’s placement that focused my attention, a diminutive creature adrift in a mauve fog. The Rubythroat is just one of 200 animal specimens that have been scanned, printed in multiple, and hung in a mosaic of thick[…..]

Ayana V. Jackson: Archival Impulse at 33 Orchard

Ayana V. Jackson. Prototype/ Phenotype, 2013; archival pigment print; edition of 6 and 3 artist proofs; 39.4 x 45.5 in.

Ayana V. Jackson’s exhibition An Archival Impulse claims to take inspiration from Hal Foster’s idea that, through confronting the archive, new systems of knowledge can be created. Jackson’s artistic interrogation targets representations of non-European bodies during the 19th and 20th centuries, a period of significant colonial expansion in Africa and the Americas. This history of representation comprises a vast field of imagery and thousands of[…..]

Burning Down the House at Pasadena Museum of California Art

Jo Ann Callis. Salt, Pepper, Fire, 1980; dye transfer print; 22 ½ x 17 ½ in. Courtesy of the Artist.

A woman in a long skirt spins dervishly against a mauve background while a wooden sculptural lamp in the shape of an embracing couple dominates the foreground. A man with two faces simultaneously laughs and cries behind a potted houseplant. The scene of a one-night stand is recorded in minute detail in the Polaroids left by a bed. Two clay women battle over a chintzy[…..]

Saying Yes to Everything at Honor Fraser

Ray Yoshida. Comic Book Specimen #1 — Right Profile, c. 1965; Collage on paper, 22 x 28 in. Courtesy of the estate of Ray Yoshida. Photo Tom Van Eynde. Collection of KAWS, New York.

Saying Yes to Everything, an exhibition featuring nineteen artists working in collage, recently opened at Honor Fraser Gallery in Los Angeles. On display are a range of works made between 1960 and the present day by both established and emerging artists. The title is a commentary on the essential inclusivity of collage. But understanding the medium’s place in art history can help the viewer appreciate[…..]

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[…..]