Sculpture

John Buck at Robischon Gallery

John Buck. The Immigration, 2016; jelutong wood, acrylic paint, leather, motors; 114 x 268 x 168 in. Courtesy of Robischon 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, Kate Nicholson reviews John Buck at Robischon Gallery in Denver. John Buck’s colossal kinetic sculptures draw passersby into Robischon Gallery, including families[…..]

Sculptures and People

Gordon Newell. Valley Landing, (date unknown); installation view, Fulton Mall (Fresno, CA). Photo: Elena Harvey Collins, 2016

Today we bring you an Elena Harvey Collins essay from our sister publication, Art Practical. Harvey Collins explores the genius loci of the Fulton Mall in Fresno, California, its history and redevelopment, and the public artworks that surround it. She says “The mall had the feeling of a permanent film set made for the performance of civic life—one steeped in magical realism. ‘I woke up feelin’[…..]

Beverly Buchanan: Ruins and Rituals at the Brooklyn Museum

Beverly Buchanan. Untitled (Double Portrait of Artist with Frustula Sculpture), n.d.; black and white photograph with original paint marks, 8 ½ x 11 inches. ©Estate of Beverly Buchanan, Courtesy of Jane Bridges and the Brooklyn Museum.

A comprehensive and long overdue exhibition of Beverly Buchanan’s work kicks off A Year of Yes: Reimagining Feminism at the Brooklyn Museum—a yearlong program of ten exhibitions celebrating the first decade of the museum’s Elizabeth Sackler Feminist Art Center. In a time when voices of misogyny and white supremacy are gaining renewed validation in national political discourse, exploring assumptions around feminism and what feminist art[…..]

Spectres at Mor Charpentier

Fredi Casco. The Return of The Sorcerers, Vol. 1, 2005; Digital print; 7.8x9.8 in. Courtesy of the artist.

Phantoms of Latin American conflicts loom in Spectres, an exhibition by Fredi Casco, Teresa Margolles, and Rosângela Rennó at Mor Charpentier gallery in Paris. Inspired by Roland Barthes’ seminal text Camera Lucida, the exhibition organizes itself around the concept of the spectrum, as understood by Barthes—who wrote the book while trying to symbolically conjure the presence of his recently deceased mother—as the object pictured in[…..]

Jennifer and Kevin McCoy: Broker at Postmasters Gallery

Jennifer & Kevin McCoy. BROKER (still), 2016; video, 28 minutes. Courtesy of the Artists and Postmasters Gallery. Photo: Evan Schwartz

The Postmasters Gallery’s arched storefront entrance on Franklin Street in New York City’s Financial District conjures an era long gone, when artists inhabited the raw lofts of the area. High ceilings with brick and rustic Corinthian columns belie the sleek high-rise trend seeping into the city, which aptly form the setting of Jennifer and Kevin McCoy’s latest exhibition, BROKER. Well-loved for their maquettes often featuring[…..]

Slaying Monsters: The 2016 Kuandu Biennale, Taipei

Zhang-Xu Zhan. Inferiority Bat (Hsin Hsin Joss Paper Store Series–Room 003), 2014-2015; 6-channel video animation installation; 5 min. Courtesy of the Kuandu Museum of Fine Arts.

It sounds like the start of a fairy tale. Ten curators from nine different countries are given a task to perform: Each must choose one artist with whom to create a major show. The resulting Kuandu Biennale in Taipei, Slaying Monsters, is made up of separate “solo exhibitions” from Australia, China, Indonesia, Japan, Korea, Malaysia, Singapore, Vietnam, and Taiwan, an interesting spin on the usual[…..]

Luis Cruz Azaceta: War and Other Disasters at Abroms-Engel Institute for the Visual Arts

Luis Cruz Azaceta. Hell Act, 2009; acrylic, charcoal, pencil, and shellac on canvas; 72 x 160 in. Courtesy of the artist and the Abroms-Engel Institute for the Visual Arts.

Over the past four decades, Luis Cruz Azaceta has continued to mine the vast possibilities of expressionism—a style that often lends itself to forms of humanism, idealism, originality, and angst that feel more fitting for the 20th century than our current moment. Yet the artist is vigilant in his desire to respond to the world around him, and refuses to retreat into a formal world[…..]