Reviews

New Objectivity: Modern German Art in the Weimar Republic, 1919–33, at LACMA

August Sander. Painter’s Wife [Helene Abelen], 1926; gelatin silver print; 10 3/16 x 7 3/8 in. Courtesy of LACMA.

Following World War I and the humiliating terms of the Treaty of Versailles, the Weimar Constitution was ratified, establishing Germany’s first democracy. It ushered in a thriving cultural climate: Expressionism came to an end, the Dadaists engaged in anti-art activities, the Bauhaus school was established, and in particular, Neue Sachlichkeit, or “New Objectivity,” emerged. The movement was an alternative realism, endemic to post–WWI Germany, and[…..]

Art Brut in America: The Incursion of Jean Dubuffet at the American Folk Art Museum

Augustin Lesage. Composition Symbolique, Amour pour l’Humanité (Symbolic Composition, Love for Humanity), 1932;
 
oil on canvas; 38-1/4 x 27-1/2 in.; Pas-de-Calais, France.
 Collection de l’Art Brut, Lausanne, Switzerland. Photo: Claude Bornand.

Art Brut in America: The Incursion of Jean Dubuffet, currently on view at the American Folk Art Museum in New York, focuses on two events seminal to the introduction of art brut to an American audience. The first was a 1951 speech given by the French artist Jean Dubuffet to the Arts Club of Chicago entitled “Anticultural Positions.” Displayed in full at the museum, the[…..]

Mike Kelley: Single Channel Videos at REDCAT

Mike Kelley. Extracurricular Activity Projective Reconstruction #1 (Domestic Scene), 2000 (film still); black and white, 29:44 min. Art © Mike Kelley Foundation for the Arts. All Rights Reserved/Licensed by VAGA, New York, NY.

Nearing the fourth anniversary of Mike Kelley’s death, REDCAT presented a theatrical screening of six of his video works, curated by Steve Anker and Bérénice Reynaud as part of the Jack H. Skirball Series. The selection of works in Mike Kelley: Single Channel Videos included a one-act melodrama based on a black-and-white yearbook photograph, a hammy and melancholic Superman reciting Sylvia Plath, an invocation of power through[…..]

Laurie Anderson: Heart of a Dog

Laurie Anderson, Heart of a Dog, 2015 (still). Courtesy the artist and Abramorama Entertainment.

Artist Laurie Anderson opens Heart of a Dog by recounting a rather bizarre dream. Illustrated on the screen through sketchy black-and-white drawings and narrated in Anderson’s calm, comely voice, the artist gives birth to her dog, Lolabelle, the spectral rat terrier who becomes in some ways (though in others not) the star of the film. After being presented with her bundle, Anderson’s dream self feels very[…..]

Yo-Yos & Half Squares: Contemporary California Quilts at the Oakland Museum of California

Willia Ette Graham, Johnnie Alberta Wade, and Arbie Williams. Mamaloo, 1992; denim, cotton flannel; 76 x 68 in. Courtesy of the Eli Leon Collection and the Oakland Museum of California. Photo: Terry Lorant.

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, Elena Harvey Collins reviews Yo-Yos & Half Squares: Contemporary California Quilts at the Oakland Museum of California in Oakland. On view at the Oakland Museum of[…..]

Best of 2015 – The Great Debate About Art at Upfor

Ben Buswell. ABRACADABRA (Perish Like the Word), 2015; graphite and non-photo blue; 38 x 20 inches. Courtesy of the artist and Upfor. Photo: Mario Gallucci.

DSAP director Patricia Maloney selected today’s installment for our Best of 2015 series: “Ashley Stull Meyers doesn’t shy away from calling out an exhibition with as grand a title as The Great Debate About Art for what it leaves unexamined. The effort to determine the limits or properties of what constitutes art is a quixotic task, and Meyers acknowledges the absurdity inherent in the premise right from[…..]

Best of 2015 – Ten Years Gone at the New Orleans Museum of Art

Christopher Saucedo. World Trade Center as a Cloud (No. 5). 2011. Linen pulp on cotton paper. 60 x 40 inches. Image courtesy of the artist.

Today’s Best of 2015 selection comes from our director, Patricia Maloney, who writes, “In her heartbreaking memoir, The Year of Magical Thinking, Joan Didion accounts for grief’s measure of time as very different from chronological time. It keeps one suspended in a particular moment or progressing from that moment at a glacial pace in comparison to the pace of days and weeks. In her review of Ten[…..]