Reviews

Anicka Yi: You Can Call Me F at The Kitchen

Anicka Yi. Installation view of You Can Call Me F at The Kithcen in New York City , 2015.

At the entrance to the black box of the Kitchen’s upstairs gallery, a long vitrine houses an illuminated culture of bacteria on agar jelly. The cracked slab teems with biological entities colored like bruises on sallow skin. Imprinted with capital letters, it reads: YOU CAN CALL ME F. Anicka Yi’s current solo show stages part breeding ground, part containment camp for “F”—the feminine, the woman[…..]

Jenni Olson: The Royal Road

Jenni Olson. The Royal Road; 2015 (still). 16mm/HD; 65:00 min. Courtesy of Jenni Olson Productions.

Today from our partners at Art Practical, we bring you Sean Uyehara’s review of The Royal Road by Jenni Olson. Uyehara notes that the film echoes “…dreams, those deferred and distorted forms of wish fulfillment, where the destination is never reached and that inevitably lead back to the thorny, tangled territory of the unconscious.” This article was originally published on March 12, 2015. Jenni Olson’s second feature-length narrative[…..]

Doris Salcedo at the Museum of Contemporary Art Chicago

Doris Salcedo, Atrabiliarios (detail), 1992-2004. Installation view, Doris Salcedo, MCA Chicago. San Francisco Museum of Modern Art, Accessions Committee Fund purchase:gift of Carla Emil and Rich Silverstein, Patricia and Raoul Kennedy, Elaine McKeon, Lisa and John Miller, Chara Schreyer and Gordon Freund, and Robin Wright. Photo: Nathan Keay, © MCA Chicago.

The fourth floor of the Museum of Contemporary Art Chicago is typically an airy space with high ceilings and ample skylights, but currently it is crowded with an overabundance of furniture. Visitors are greeted with the pleasant mineral smell of dirt and a dense maze of wooden tables. The lighting is diffuse, almost grayed, and the galleries take on the look of a luminous dusk,[…..]

Shaping Abstraction at the de Young Museum in San Francisco

Oskar Fischinger. Rhythmic Tapestry, 1952; oil on canvas; 17 1/4 x 22 1/8 in. Courtesy of the Harriet and Maurice Gregg Collection of American Abstract Art and the Fine Arts Museums of San Francisco.

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, Emily Swaim reviews Shaping Abstraction at the de Young Museum in San Francisco, California. Full disclosure—I have embarrassingly little education in abstract art. In fact, I chose[…..]

Janet Delaney: South of Market at the de Young Museum

Janet Delaney. Bulk Natural Foods, Russ at Howard Street, 1980; archival pigment print. Image courtesy of the Artist. © 2014 Janet Delaney

Today from our partners at Art Practical we bring you a review of Janet Delaney’s photographs, on view at the de Young Museum in San Francisco through July 19, 2015. Author Glen Helfand explains that the power of these images lies not just in themselves: “Delaney’s exhibition becomes a social space for the exchange of memory and the erratic flow of time in the city, and[…..]

Taryn Simon: Birds of The West Indies at Almine Rech

Taryn Simon. Detail of United Kingdom, 2014; 26 black and white images, archival inkjet prints in boxed mat and aluminum frame, 40 x 95 in. Photo by the author.

James Bond: debonair hero of the British Secret Service, or Caribbean bird expert? The answer is both. Ian Fleming named his famous spy after an ornithologist who wrote the comprehensive Birds of the West Indies. At Almine Rech Gallery in Paris, artist Taryn Simon fuses the cosmos of 007 with the interests of the researcher to produce a field guide to the birds that appear[…..]

Palermo: Works 1973–1976 at David Zwirner Gallery

Blinky Palermo. Ohne Titel (Untitled), 1973; primer, oil, fabric, and wood; 98-7/8 x 26-3/8 x 3-5/8 inches.

Palermo: Works 1973–1976, now on view at David Zwirner’s 20th St. gallery in Chelsea, speaks at close range. Unlike the gallery’s concurrent solo exhibitions—devoted to Suzan Frecon and Alice Neel—there’s no mounting symphony behind this selection of works by Blinky Palermo. The exhibition has moments of real depth, but situated between the abundance of the Frecon and Neel shows, it is in danger of functioning[…..]