Posts Tagged ‘Danica Willard Sachs’

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[…..]

Paz Errázuriz/Matrix 251 at the Berkeley Art Museum/Pacific Film Archive

Paz Errázuriz. La Palmera, Santiago, from the series La manzana de Adán, 1982; gelatin silver print, 19 2/3 x 23 ½ in. Courtesy of the Artist and Galeria AFA, Santiago.

Today from our partner Art Practical, we bring you a review of photographer Paz Errázuriz’s work, on view through tomorrow at the Berkeley Art Museum. Author Danica Willard Sachs notes, “By immersing the viewer in the peripheries of Chilean society, into the brothels and gyms populated by socially isolated men, Errázuriz’s photographs not only put an individual face on oppression, they also highlight a resilience inherent[…..]

Lalla Essaydi: New Beauty at Jenkins Johnson Gallery

Lalla Essaydi. Bullets #5, 2009; chromogenic print; 48 x 60 in. Courtesy of the Artist and Jenkins Johnson Gallery, San Francisco.

From our sister site Art Practical, today we bring you a review of Lalla Essaydi’s photographs now on view at at Jenkins Johnson Gallery in San Francisco. Author Danica Willard Sachs notes that in Essaydi’s work, “the effect of the ceremonial fabrics and calligraphy is to flatten the women into almost abstract images that retreat into the background like furniture.” This article was originally published on February[…..]