Sculpture

Amir H. Fallah: All Experience Is an Arch at Hap Gallery

Students of metaphysics commonly debate about time and space as an arc—curving and perhaps boomeranging, to ends that are difficult to articulate. Los Angeles–based artist Amir H. Fallah, however, postulates the experience of time and space as something more solid and tangible, akin to a structure engineered for indiscriminate movement back and forth. All Experience Is an Arch at Hap Gallery is an experiential recounting[…..]

The 5th Of July at Atlanta Contemporary Art Center

Installation shot of ‘The 5th of July’ (Far Left: Katherine Bernhardt’s Cantaloupe, iPhones, Nikes and Capri Suns (2014), Acrylic and Spray Pain on Canvas, 96 x 120 inches). Image courtesy of The Atlanta Contemporary Art Center (Atlanta, GA).

The symbolic charge of “the day after” marks itself as an interval structured by ambiguity as opposed to closure—a time of wake-up calls, hangovers, regrets, and comedowns. In science fiction, the phrase often suggests the apocalyptic nightmares of a world threatened by total disaster, while in revolutionary politics it articulates the call to reality after the collective euphoria from battle has worn away. It is[…..]

G.T. Pellizzi: Yo Transporto at Sala de Arte Público Siqueiros

G.T. Pellizzi. Yo Transporto, 2016; wood, plywood, Ethafoam. Courtesy of Sala de Arte Público Siqueiros.

Art travels. Within the globalized art scene, its journey takes the many forms of traveling exhibitions, international art fairs, biennials, public contests, and loans from personal or institutional collections. Although this wandering condition may enrich the experience of different public spheres by bringing them closer to popular works and major exhibitions, the accelerated speed at which these movements and spectacles take place commands a huge[…..]

Alice Könitz: Commonwealth at Commonwealth & Council

Alice Könitz. Kiosk, 2016; wood, wood stain, PVC pipe; 76½ x 96 x 96 in. Courtesy of the artist and Commonwealth & Council.

Just as a bar’s allure resides not in its efficient exchange of money for alcohol, but in its ability to be a pleasant setting for individuals to be together, a gallery’s strength resides in its ability to become a social space, where the art becomes a campfire around which people can mingle, chat, and maybe even have fun. Yet, from the ugly sterility of the[…..]

Marcel Broodthaers: A Retrospective at the Museum of Modern Art

Marcel Broodthaers. Pense-Bete (Memory Aid), 1964; books, paper, plaster and plastic balls on wooden base, without wooden base; 11 13/16 × 33 1/4 × 16 15/16 in. Courtesy of the Collection Flemish Community, long-term loan S.M.A.K. © 2016 Estate of Marcel Broodthaers, the Artists Rights Society (ARS), New York, SABAM, Brussels, and the Museum of Modern Art, 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, Andreas Petrossiants reviews Marcel Broodthaers: A Retrospective at the Museum of Modern Art in New York. In Marcel Broodthaers’ poem “Question de[…..]

Invisible Presence: Bling Memories at the Atlanta Contemporary Art Center

Ebony G. Patterson. Invisible Presence: Bling Memories, 2014; installation view, Atlanta Contemporary Art Center, Atlanta, Georgia. Courtesy of the Artist and Atlanta Contemporary Art Center.

On May 8, 2001, the funeral of William Moore, aka Willie Haggart, was a raucous affair. Abandoning the somber mood of a typical funeral, the ceremony was a giant party at the National Arena in Kingston, Jamaica. Labeling it a “celebrity event,” Donna P. Hope writes that the style of Haggart’s funeral “ruptured the sobriety and mourning associated with traditional funeral rites.”[1] With this, the[…..]

William Koone: 10:10 at City Limits

William Koone. 10:10, 2016; installation view, City Limits, Oakland. Courtesy of the Artist and City Limits. Photo: Kristine Eudey

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, Colin L. Fernandes reviews William Koone’s solo exhibition 10:10 at City Limits gallery in Oakland, California. For his exhibition at City Limits[…..]