Reviews

Rhonda Holberton: YOU BECAUSE FREE INSTANTLY NEW at Pro Arts Gallery

Rhonda Holberton. YOU BECAUSE FREE INSTANTLY NEW, 2014; installation view; Pro Arts Gallery, Oakland, California. Courtesy of the Artist and Pro Arts Gallery.

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, Amanda N. Simons reviews Rhonda Holberton: YOU BECAUSE FREE INSTANTLY NEW at Pro Arts Gallery in Oakland, California. Pro Arts Gallery in downtown[.....]

COMMUNE at White Rabbit Gallery of Contemporary Chinese Art

Xia XIng, '2010', 2010 - 2011, oil on canvas, 35 x 50cm (x60) image courtesy White Rabbit Gallery

The word commune, whether used as a noun or a verb, has complex connotations. From earnest Utopianism to grim, state-enforced collectivism; from familial relationships and networks to our connection with the natural world—all of these possible associations are present in the new show at Sydney’s White Rabbit Gallery of Contemporary Chinese Art. From Judith Neilson’s impressive collection, curator Bonnie Hudson has selected works by twenty-three artists.[.....]

Neal Rock: Herm 0714 at Loudhailer Gallery

Neal Rock. Schwarze Prosopon, 2014; Silicone paint, styrofoam & MDF, 25 x 13 x 8 in. Photo courtesy Loudhailer Gallery and the artist.

The latest exhibition of work by Los Angeles-based artist Neal Rock, currently on view at Culver City’s Loudhailer Gallery, asks viewers to consider artistic materials in a fresh and interesting way, but falls somewhat short conceptually. Rock’s abstract, sculptural works combine found components, such as insulation material, with layered experiments in oil paint, silicone, and printing. These idiosyncratic objects are tantalizingly ambiguous in tone but[.....]

#Hashtags: Touching in Fleeting Contact

Jennifer Allen discusses the role that pilgrimage and cult value play in public art.

#JenniferAllen #SommerakademieSalzburg #cities #public #private #surveillance #circulation #socialmedia Sommerakademie Salzburg, also historically known as the “school of vision,” opened its doors in 1953 to anyone interested in studying art. Now entering its 61st year, the academy attracts a broad range of practitioners to participate in courses taught by artists and cultural theorists. This year’s public program was entitled Cities—Spaces for Art, Politics, Living…, and I was[.....]

Summer Reading: All Mother Tongues Are Difficult

Mounira Al Solh. Eat My Script, 2014; still from video, 24 min 50 sec.

As the editors at Art Practical and Daily Serving get ready to take their end-of-summer vacations, we find ourselves swapping reading lists—the articles we’ll dive into once have some uninterrupted time to catch up on what our colleagues have been writing. We’ve gotten so excited about what’s on our lists that we want to share them with our readers. Between now and Labor Day, Daily Serving will feature the efforts of our[.....]

How to Make a Non-Didactic Video

Camille Henrot. Grosse Fatigue, 2013; Video: color, sound, 13 min. © ADAGP Camille Henrot. Courtesy the artist, Silex Films and kamel mennour, Paris.

Today from our friends at Glasstire, we bring you Joshua Fischer’s assessment of two videos currently on view in Houston, Texas. Instead of comparing works in the same exhibition, Fischer reviews videos by the artists Hito Steyerl and Camille Henrot in two different shows and defines the likenesses between them. He notes, “Steyerl and Henrot may have different outlooks and approaches [...] but luckily they share[.....]

Matt Sheridan Smith: Widow – Fig. 3 Ep. 1 at Hannah Hoffman Gallery

Matt Sheridan Smith. Widow – Fig. 3 Ep. 1, installation view. Courtesy of the artist and Hannah Hoffman Gallery, Los Angeles. Photo: Joshua White

Matt Sheridan Smith’s current exhibition at Hannah Hoffman Gallery is a portrait show, but not in the conventional sense. Instead of painted likenesses of his subject (there is one representational image; more on that later), Sheridan Smith uses pattern, abstraction, and the readymade to create what he dubs “a sort of speculative portraiture.”[1] Evocative and confounding rather than illuminating, the works in the show obscure[.....]