Posts Tagged ‘Danica Willard Sachs’

Miriam Böhm: At On at Ratio 3

Miriam Böhm. Equally III, 2015; chromogenic print; 23 x 29 in. Courtesy of the Artist and Ratio 3, San Francisco.

From our partners at Art Practical, today we bring you a review of Miriam Böhm’s current solo show at Ratio 3 in San Francisco. Author Danica Willard Sachs notes that the work has “a surreal dimensionality, with lines and planes that intersect in unusual ways, suggesting a simultaneous depth and flatness that refuses to resolve neatly into one or the other.” This article was originally published on April 14,[…..]

Alec Soth: Songbook at Fraenkel Gallery

Alec Soth. Bree, Liberty Cheer All-Stars, Corsicana, Texas, 2012; pigment print; 39 x 52 in. Courtesy of Fraenkel Gallery, San Francisco. © Alec Soth.

Today we bring you a review of Alec Soth: Songbook at Fraenkel Gallery in San Francisco. Writing for Art Practical, author Danica Willard Sachs notes that “The project marks a departure from [Soth’s] usual reliance on narrative annotations to explain his images; it’s a more free-flowing, less didactic viewing experience.” This article was originally published on March 26, 2015. In twenty-one black-and-white pigment prints from the larger photobook Songbook,[…..]

The Return to Reason at Gallery Wendi Norris

Stephen Gill. Talking to Ants, 2009–12; pigment archival paper print, image 40 x 40 in., paper 44 x 44 in., edition of 5 plus 2 AP. Courtesy of the Artist and Gallery Wendi Norris, San Francisco.

Today from our partners at Art Practical, we bring you a review of the current group show at Gallery Wendi Norris in San Francisco. Author Danica Willard Sachs writes: “In a moment when the commonplace assumption is that photographs are digitally manipulated, the exhibition shines in its success at reminding viewers that wonder can still be found in the analog realm of the darkroom, or[…..]

Robert Frank in America at Cantor Arts Center

Robert Frank. Detroit, 1955; gelatin silver print, 8 ½ x 13 in. Courtesy of Cantor Arts Center at Stanford University. © Robert Frank.

From our partners at Art Practical, today we bring you a review of a new exhibition of Robert Frank’s photographs at the Cantor Arts Center at Stanford University. Though these photographs are now sixty years old, they are still surprisingly relevant; author Danica Willard Sachs remarks, “Through revealing details, Frank charts the uneasy political geography of a vast country on the verge of change.” This[…..]

Matt Borruso: Wax House of Wax at Steven Wolf Fine Arts

Matt Borruso. Forming, 2012–14; installation view, Wax House of Wax, 2014; plastic, Plexiglas, glass, mirrors, cut paper, ceramic, unfired clay, silicone, wax, talc, lenticular photographs, holograms, wood, tape, rubber bands, linen, concrete, steel, elastic, books, magazines, airbrush paint, inkjet prints, transparencies, posters, wallpaper; 120 x 42 x 61 in. Courtesy of the Artist and Steven Wolf Fine Arts, San Francisco.

Today from our partners at Art Practical, we bring you a review of Matt Borruso’s recent solo show Wax House of Wax, which closes today at Steven Wolf Fine Arts in San Francisco. Author Danica Willard Sachs notes, “Like a Surrealist, Borruso manipulates the banal, challenging viewers to see the horror underlying the everyday.” This review was originally published on October 23, 2014. In Wax House[…..]

Sara VanDerBeek: Ancient Objects, Still Lives at Altman Siegel Gallery

Sara VanDerBeek. Chorerra, 2014; Digital c-print, 24 x 18 1/4 in; Edition of 6 plus 2 AP. Image courtesy of the Artist and Altman Siegel, San Francisco.

From our partners at Art Practical, today we bring you Danica Willard Sachs’ assessment of Sara VanDerBeek’s solo show Ancient Objects, Still Lives at Altman Siegel Gallery in San Francisco. Willard Sachs notes that the work “…suggest[s] that the past and present are not so easily partitioned when placed under VanDerBeek’s careful aesthetic watch.” This article was originally published on July 21, 2014. Sara VanDerBeek’s photographs in her latest exhibition Ancient Objects, Still[…..]

Geof Oppenheimer: Monsters at Ratio 3

Geof Oppenheimer. The Embarrassing Statue, 2014; electroplated steel, Husqvarna 150BT, marble, Brooks Brothers pants, plaster bandages, and MDF; 101 x 33 x 33 in. Courtesy of the Artist and Ratio 3, San Francisco.

From our partners at Art Practical, today we bring you author Danica Willard Sachs‘ review of Geof Oppenheimer‘s Monsters at Ratio 3 in San Francisco. This article was originally published on June 18, 2014.   Geof Oppenheimer’s current solo exhibition at Ratio 3, Monsters, continues his investigation of the physical markers of violence. In previous exhibitions, such as Inside Us All There Is a Part That Would Like to[…..]