Posts Tagged ‘Art Practical’

Paul Graham: The Whiteness of the Whale

Paul Graham. New Orleans (Cherries), 2005. Courtesy of the Artist and Pier 24 Photography, San Francisco.

By further playing up these perspectives through the massive scale of the photographs, Graham leaves a viewer feeling uncomfortable about accepting these imposing yet generic visualizations of economic standing.

Raiders and Empires

Stephanie Syjuco. Empire/Other: Morphset E, 2013 (video still); 3D animated video. Courtesy of the Artist and FLACC Workplace for Visual Artists, Belgium.

In these projects Syjuco harnesses technologies of distribution and reproduction—the web, photography, and 3D scanning and printing—to create objects that reveal the tangled history of colonization and cultural hybridization.

Özlem Altin at Kiria Koula

Özlem Altin. Sleeping statue, 2013; print on litho paper; 27 ½ x 22 in. Courtesy of the Artist and Kiria Koula, San Francisco. Photo: John White.

From our partners at Art Practical, today we bring you a review of Özlem Altin’s current solo show at Kiria Koula in San Francisco. Author Zachary Royer Scholz declares: “Özlem Altin’s exhibition at Kiria Koula is a wonderful rarity. It does not present viewers with clear answers because it is not the finished result of an exploration. It is an exploration in progress, in which viewers participate—a generous[…..]

Fourth World: Current Photography from Colombia at SF Camerawork

Andres Felipe Orjuela. Luis Aldana Uno de los Antisociales Detenidos en la Mañana de Hoy Cuando Trataba de Huir [Luis Aldana One of the Antisocial Arrested in the Morning While Trying to Escape], 2014; photograph on cotton paper, illuminated with Marshall's pigments. Courtesy of the Artist and SF Camerawork.

From our partners at Art Practical, today we bring you John Zarobell’s review of Fourth World: Current Photography from Colombia at SF Camerawork. Zarobell notes that Fourth World follows a survey of contemporary photography from Mexico: “Taken together, these exhibitions make SF Camerawork preeminent in presenting contemporary Latin American photography in the Bay Area. Such a program […] suggests other avenues that SF Camerawork could explore in order to continue[…..]

Printed Matters: An Old American Problem

Doug Rickard. #96.749058, Dallas, TX (2008), 2010; from A New American Picture (Aperture 2012). © Doug Rickard. Courtesy of Yossi Milo Gallery, New York, and Stephen Wirtz Gallery, San Francisco

Today from our partners at Art Practical, we bring you Amelia Rina’s review of the photography books A New American Picture by Doug Rickard (Aperture, 2012) and A New American Dream by Coll.eo (Concrete Press, 2014). This article was originally published on September 15, 2015. Today, with the ever-expanding visibility of public space facilitated by online image databases such as Google Street View and Google Images, it is now[…..]

Radical Presence, Absence, A Body Without Politics

Girl [Chitra Ganesh + Simone Leigh]. My dreams, my works must wait till after hell... (still), 2011; Digital video, color, sound; 7:14 minutes. Courtesy of the Artists.

Today from our partners at Art Practical, we bring you Anna Martine Whitehead’s latest installation of “Endurance Tests,” a column “on current explorations of representation, the ethereal, and compulsiveness by black artists working in the field of performance.” The author notes, “[…] there is no accounting for blackness. It is too vast—it is everything—and can look any way it wants to. Or it can not look at all.” This article[…..]

Jay DeFeo/Alter Ego at Hosfelt Gallery

Jay DeFeo, Untitled, 1973; gelatin silver print, 7 3/4 x 9 9/16 in., Estate no. P0778A. May not be reproduced in any form without permission of The Jay DeFeo Trust, © 2015 The Jay DeFeo Trust/Artists Rights Society (ARS), New York.

Today from our partners at Art Practical, we bring you a review of Jay DeFeo/Alter Ego at Hosfelt Gallery in San Francisco. Author Anton Stuebner notes, “In reconceptualizing the forms of her everyday life, DeFeo’s work suggests the importance of embracing the imaginary and the real as necessary complements.” This article was originally published on October 1, 2015. Shadows suffuse Jay DeFeo’s work. In her gelatin silver prints,[…..]