Posts Tagged ‘San Francisco’

Finding Photography “Secondhand” at Pier 24

Maurizio Anzeri. Pierre, 2013; Courtesy of the artist.

From our friends at KQED, today we bring you Matthew Harrison Tedford’s review of Secondhand, the new exhibition at Pier 24 Photography. Tedford notes, “[...] these works possess the power to convey a corporeal and emotional truth [...]” This article was originally published on August 14, 2014. Secondhand, the first new exhibition to open at Pier 24 Photography in San Francisco since July 2013, presents the work[.....]

A Pattern Language at CULT // Green Circle Black Diamond at Ratio 3

Lena Wolff. O San Francisco, 2014; paper quilt with hand-cut and painted papers; 45 x 45 in. Courtesy of the Artist and CULT: Aimee Friberg Exhibitions.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. Today we bring you two reviews written by our summer interns: First, Deidre Foley considers A Pattern Language: Michelle Grabner, Angie Wilson, and Lena Wolff at CULT; next, Audrey Weber assesses the exhibition Green Circle Black Diamond at Ratio 3 in San Francisco. We thank these two[.....]

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[.....]

Artist Project: Mediated Morandi

Michelangelo Antonioni. La Notte, 1961 (film still); 02:02:00. Courtesy of Nepi Film and Lopert Pictures Corporation (USA).

From our partners at Art Practical, today we bring you Mediated Morandi, a project by Will Brown—the moniker of the San Francisco-based collective of Lindsey White, Jordan Stein, and David Kasprzak. This essay was commissioned by guest editor Jonn Herschend as part of Issue 5.5, Slapstick and the Sublime, and originally published on July 10, 2014. Will Brown is a collective that experiments with various modes of exhibition making while researching and manipulating histories as a part[.....]

Anthony Friedkin: The Gay Essay at the de Young Museum

Anthony Friedkin.

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, Susannah Magers reviews Anthony Friedkin: The Gay Essay at the de Young Museum in San Francisco.   The first question a show about documentary work made more[.....]

Southern Machine Exposure Project Event #14: Josh Greene’s Audio Tour

In celebration of American Independence Day, today we bring you a video from our friends at Machine Project in Los Angeles. In 2012, Machine Project teamed up with Southern Exposure—another great independent art space—to program a series of performances and events throughout the city. Artist Josh Greene made this museum-style audio tour for the home of Maria Mortati & Mark Glusker, allowing visitors intimate access to[.....]

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[.....]