Sculpture

Zhan Wang: Morph at Long March Space

Zhan Wang. Morph, 2014-15; installation view, Long March Space, Beijing. Courtesy of the Artist and Long March Space.

Quiet, cool, and dimly lit, Long March Gallery is an ethereal sanctuary for the five sculptures of Zhan Wang’s Morph. A tall, abstract sculptural form perches on a marble pedestal in the first gallery; next to it is a large, shiny work from Zhan’s ongoing Artificial Rock series. Together they create an intriguing juxtaposition. Immediately it seems odd to view such a work inside a[…..]

David Ryan at MCQ Fine Art

David Ryan. (Untitled), 2014; Sintra construction with hand painting; 8 3⁄4 x 16 1⁄2 x 1⁄4 in.

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, Dawn-Michelle Baude reviews David Ryan’s current solo show at MCQ Fine Art in Las Vegas. David Ryan’s first solo exhibition in Las Vegas pushes into fresh terrain.[…..]

Ann Hamilton: The Common S E N S E at Henry Art Gallery

Ann Hamilton, the common S E N S E, 2014, courtesy of Henry Art Gallery, Seattle. Photo: Jonathan Vanderweit.

I was instantly drawn to the Siberian Rubythroat. It must have been the vibrant red flash of exposed underbelly that first caught my eye, but it was the bird’s placement that focused my attention, a diminutive creature adrift in a mauve fog. The Rubythroat is just one of 200 animal specimens that have been scanned, printed in multiple, and hung in a mosaic of thick[…..]

Amber Cowan: Second-Life Glass at the Museum of Craft and Design

Amber Cowan. Gray 80, 2014; flame-worked glass; 64 x 28 x 4 in. Courtesy of the Artist and Museum of Craft and Design. Photo: Amber Cowan.

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, Sienna Freeman reviews Amber Cowan: Second-Life Glass at the Museum of Craft and Design in San Francisco. Upon entering the Museum of Craft and Design’s current exhibition, Amber Cowan:[…..]

Transformations – Death, Breakage, and the Unexpected

David Ireland. Angel-Go-Round, 1996; fiberglass, cast concrete figures and motor; 180 x 191 x 191 in. Courtesy of di Rosa collection, Napa. Photo: Israel Valencia.

Today from our partners at Art Practical, we bring you a recent installment of “Notes from di Rosa,” a column produced in conjunction with Art Practical’s yearlong residency at the museum. In this edition, author Terri Cohn explores the collection and its legacy. This article was originally published on October 8, 2014. Beautiful, bucolic, and quiet, di Rosa stretches out over its 200 acres with obvious and[…..]

Sarah Oppenheimer at Mills College Art Museum

Sarah Oppenheimer, 2014; installation view, Mills College Art Museum. Courtesy of the Artist and Mills College Art Museum.

From our partners at Art Practical, today we bring you Lea Feinstein’s review of Sarah Oppenheimer’s current solo show at Mills College Art Museum. Feinstein notes: “[Oppenheimer] creates immersive experiences for participants, in which literal reflections inspire personal reflection and wondering is a product of wandering. […] But without hours of serious research before seeing the exhibition, it is difficult to parse the scope or significance of her installations from[…..]

Fan Mail: Laura Moore

Laura Moore.  One Man's Junk, (ongoing series) 2014; hand carved Indiana Limestone; dimensions variable. Courtesy of Paul Cimoroni.

From the height of a pedestrian bridge over a railroad track in Toronto, artist Laura Moore saw the remains of a computer monitor gazing screen- or face-up at her from the tracks. The happenstance experience provoked a number of questions about contemporary society’s rapidly changing relationship and progressive entanglement with technology. Mainly the artist wondered: Why was this monitor marched up a steep set of[…..]