Sculpture

Diedrick Brackens: This Is Real Life at Johansson Projects

Diedrick Brackens. 10-79, 2015; hand-woven fabric, nylon, chenille, hand-dyed cotton, bleach; 66 x 14 in. Courtesy of the Artist and Johansson Projects, Oakland.

Today from our partners at Art Practical, we bring you a review of This Is Real Life, artist Diedrick Brackens’ current solo show at Johansson Projects in Oakland. Author Anton Stuebner notes, “By invoking […] histories and their associations, Brackens acknowledges that seemingly innocuous devices can produce real and violent effects.” This article was originally published on March 31, 2015. Diedrick Brackens’ show at Johansson Projects, This Is Real[…..]

2015 Triennial: Surround Audience at the New Museum

Josh Kline. Freedom, 2015; installation view, 2015 Triennial: Surround Audience, 2015, New Museum, New York. Courtesy of the Artist and 47 Canal, New York.

Surround Audience, the latest triennial exhibition at the New Museum, surveys fifty-one emerging artists, from twenty-five countries, whose practices are informed by their lived experience immersed in the digital landscape. The triennial has always billed itself as a predictive rather than reflective survey, and this iteration is no exception, with a focus on the culture of the immediate present and where it’s hurtling. Though the[…..]

Linear Abstraction at the SCAD Museum of Art

Phillip Stearns. Linear Abstraction, 2015; installation view. Gutstein Gallery, Savannah College of Art and Design, Savannah, Georgia. Courtesy of the Savannah College of Art and Design. Photo: Marc Newton.

Abstraction is dead! Long live abstraction! In Linear Abstraction, the SCAD Museum of Art negotiates the status of nonrepresentational work as it exists in the 21st century and includes work in various media, including painting, sculpture, photography, and digital formats. While the exhibition seeks to trace commonalities between contemporary practices by engaging somewhat diverse uses or ideas of lines, the resulting effect points succinctly to[…..]

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[…..]

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,[…..]

Rodrigo Valenzuela: Future Ruins at the Frye Art Museum

Rodrigo Valenzuela. Still from Maria TV, 2014. Digital video with audio. Courtesy of the artist.

Future Ruins, Rodrigo Valenzuela’s exhibition at the Frye Art Museum, is indeed monumental, incorporating a range of media including print, sculpture, video, and sound. The exhibition does not present a quiet, post-apocalyptic landscape that fetishizes decay; rather, Valenzuela addresses divisions of labor and the nature of work, making these complex issues manifest through the specter of the 21st-century economic landscape. And though it is discordant at[…..]

Daniel Dallabrida: Building the Noble Ruin at the Anderson Art Ranch

Daniel Dallabrida. Upon Reflection (Life) Fraternitas Misericordia in pace prima del diluvio / At Peace Before the Deluge, 1964–2015; Edition of 15. 100 x 132 in. Courtesy of the Artist and Anderson Art Ranch.

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, Kristin Carlson reviews Building the Noble Ruin at the Patton-Malott and Gideon Gartner Galleries of Anderson Art Ranch in Snowmass Village, Colorado.  Excavated from iconic gay culture[…..]