Reviews

Simon Denny: The Innovator’s Dilemma at MoMA PS1

Simon Denny. New Management, 2014; installation view, Portikus, Frankfurt. Photo: Helena Schlichting. Courtesy of the Museum of Modern Art.

Startup culture is ripe for satire. The tech industry’s social and economic dominance makes it a necessary target, and its penchant for jargon-heavy, wildly inflated rhetoric makes it an easy one. Mike Judge’s HBO sitcom, Silicon Valley, deftly picks the low-hanging fruit, but it hardly needs to. The elevator pitches of most weak-to-average startups on the venture-capital trail, quixotically ascribing revolutionary potential to the most[…..]

Hidden Histories in Latin American Art at the Phoenix Art Museum

Lopez.

In a small, dark gallery at the back of the Phoenix Art Museum is a thoughtful exhibition of artworks with a global interest in subjects often left unspoken. A mysterious low rumbling of vibrating glass sets the stage for Hidden Histories in Latin American Art: Teresa Margolles’ La Búsqueda (The Search) (2014) is an installation consisting of glass panels plastered with missing-persons posters transported from[…..]

Marion Belanger: Rift/Fault – Landscape Photographs of the North American Continental Plate at Haverford College

Marion Belanger. Rift #51 (Geothermal pipes alongside a road at Hengill, Iceland), 2011; Fault #26 (North Shore, Salton Sea, CA), 2012; archival pigment print; 18.5 x 14.8 in. Courtesy of the Artist and Atrium Gallery, Haverford College.

Northward light fills the gallery upon entering Marion Belanger’s exhibition Rift/Fault. The exhibition, currently on view at Haverford College, contains roughly two dozen pairings of photographs drawn from Belanger’s decade-long investigation into the geography and geology of an unseen tectonic boundary: the North American Continental Plate. Along the edges of the plate lies the Mid-Atlantic Rift in Iceland, bisecting and pulling the small nation apart, and[…..]

Print Public at Kala Art Institute and Gallery

Susan O’Malley. Less Internet More Love, from the series Advice From My 80-Year-Old Self, 2015; mural at Bob McGee's Machining Co., Inc., 2735 San Pablo Ave, Berkeley. Courtesy of Kala Art Institute. Photo: Bob McGee’s Machining Co., Inc.

Today from our partners at Art Practical, we bring you John Zarobell’s review of Print Public at Kala Art Institute and Gallery in Berkeley, California. The author notes, “[the exhibition] augurs not merely new developments in the neighborhood, but novel and innovative approaches to print.” This article was originally published on June 18, 2015. The medium of print has a long history of expanding art into the[…..]

Crafting a Continuum: Rethinking Contemporary Craft at the Houston Center for Contemporary Craft

Sonya Clark. Thread Wrapped in Blue and Brown. 2008. Combs and thread. 45 x 1 x 60 inches. Image courtesy of the Houston Center for Contemporary Craft.

Since the rise of conceptual art practices within the ever-changing terrain of contemporary art, one often encounters the silly assertion that art making has become a market of ideas as opposed to objects. This is, of course, ridiculous: A walk through any art fair or biennial reveals that there are more objects in circulation than ever before, some more thoughtful than others. While dematerialization continues,[…..]

Marte Eknæs and Sean Raspet: Calculus of Negligence at Room East

Sean Raspet. Layer Adjustment (Accident Probability Adjustment), 2015; alterations made to the physical location to increase the probability of an accident while remaining within the scope of existing insurance coverage (May 5–June 21, 2105). Image courtesy of Room East.

True catastrophes cannot be foreseen… True catastrophes are new information. They are, by definition, surprising adventures.—Vilém Flusser, Into the Universe of Technical Images, 1985 With the exception of a small community of daredevils, most people try to avoid disasters. There are, of course, various degrees of risk associated with everything we do that drive our precautions as well as the insurance industry. In general, the[…..]

Peter Saul: Some Crazy Pictures at David Kordansky Gallery

Peter Saul. Singing Sandwich, 2014; acrylic on canvas; 60 x 72 inches. Courtesy of David Kordansky Gallery. Photo: Fredrik Nilsen.

In an interview earlier this year, Peter Saul confessed, “I have to admit I’ve been enjoying myself. But through a large part of my life I’ve been desperately trying to think of some good reason for all this, and I haven’t really thought of a good reason. So that’s that.” Saul’s work is the kind that begs critics to ask, “But why?” while simultaneously and[…..]