Reviews

Fallen Fruit: Fruit Machine at Catharine Clark Gallery

Fallen Fruit (David Burns, Matias Viegener, Austin Young). Fruit Machine, 2009; Video, edition of 3 + 3AP, dimensions variable.

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, Calder Yates reviews Fallen Fruit’s video Fruit Machine at Catharine Clark Gallery in San Francisco. Visual depictions of gustatory sensations are currently on view at Catharine Clark Gallery. Deborah[.....]

Witness: Art and Civil Rights in the Sixties at Brooklyn Museum

Sam Gilliam. Red April, 1970; acrylic on canvas, 110 x 160 in. Courtesy of the Iowa Museum of Art, Gift of the Longview Foundation.

As someone born two decades after the Civil Rights Act of 1964, I received visual access to the civil-rights era predominantly through photographic documentation. Black-and-white photos in history books, documentary films, and microfilm of front-page newspaper stories shaped my understanding of the period, suggesting a more or less linear sequence of events. Witness: Art and Civil Rights in the Sixties, now at the Brooklyn Museum,[.....]

Remembering the Dead

Joseph Grigely. The Gregory Battcock Archive, 2009-2014; Installation view, Whitney Museum of American Art.
Courtesy of Air de Paris, Paris. Photo: Andrés Ramírez.

From our friends at Bad at Sports, today we bring you another assessment of the Whitney Biennial, which closes this coming Sunday. Author Jessica Cochran examines the archival nature of the current exhibition and notes, “…as the art world grows ever bigger in size and speed, one can only hope that the Whitney Biennial continues to make room for the discursive, textual, and ‘tossed-aside particulars.’” This[.....]

Etel Adnan at Callicoon Fine Arts

Etel Adnan. Untitled, 2012; oil on canvas; 9.5 x 11.75 in. Courtesy of the Artist and Callicoon Fine Arts, New York.

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, Bansie Vasvani reviews Etel Adnan at Callicoon Fine Arts in New York City. On the heels of Etel Adnan’s inclusion in Documenta 2012, and concurrent to her inclusion in[.....]

Katia Kameli: The Situationist Effect at Taymour Grahne Gallery

In The Situationist Effect, Katia Kameli’s first solo show in New York at Taymour Grahne Gallery, nine photographs and a short film, Futur, capture the alternately serene and crumbling landscape of Marseille, France. Images of velvety black skies and rich blue oceans contrast with scratchy fields of dead grass and stone. Many include a looming nuclear reactor in the background. Futur plays in the center of the gallery, unfurling[.....]

Michael Riedel: Laws of Form at David Zwirner, London

Michael Riedel. Laws of Form, 2014; installation view, David Zwirner, London. Courtesy the Artists and David Zwirner, New York/London.

“There’s no content being produced, because I’m in the first generation that grew up digital…. We are just transferring all the time: tape, CDs, and now the clouds.”[1] Something radical has been happening for a while in art that has been evading easy classification. The digital fold has facilitated a giant mash-up of layers upon layers of information composed from fragments of fragments. Sound bites, video[.....]

Mike Nelson: Amnesiac Hide at The Power Plant

Mike Nelson. Quiver of Arrows, 2010; mixed media. Courtesy of The Power Plant

Recently, it seems that when Toronto’s mayor isn’t making headlines, the city’s overheated condo market is. Getting to Amnesiac Hide, Mike Nelson’s exhibition at The Power Plant, is an exercise in navigating the realities of this fervor. Queen’s Quay, the city’s so-called “revived waterfront,” is undergoing a makeover in the midst of rising condo towers, which makes for a messy route to the gallery. But[.....]