Posts Tagged ‘San Francisco’

Mungo Thomson: Wall, Window, or Bar Signs at Kadist Art Foundation

Mungo Thomson. My Name as Written by Bruce Nauman, 2014; neon, 60 x 120 in. Courtesy of the Artist and the Kadist Art Foundation, San Francisco. Photo by Jeff Warrin.

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, Melissa Miller reviews Mungo Thomson’s Wall, Window, or Bar Signs at Kadist Art Foundation in San Francisco. In Mungo Thomson’s solo exhibition[…..]

Pablo Guardiola: Maintenance Yard at Romer Young Gallery

Pablo Guardiola. Sharks 1, 2014; digital C-print, 10 x 15 in. Courtesy of Romer Young Gallery, San Francisco.

Today from our sister publication Art Practical, we bring you a review of Pablo Guardiola’s Maintenance Yard at Romer Young Gallery in San Francisco. Author Genevieve Quick notes, “Guardiola positions history as an active investigatory process rather than a passive reiteration of fact.” This article was originally published on September 25, 2014. Having lived in San Francisco and currently residing in San Juan, in his native Puerto Rico,[…..]

Cynthia Ona Innis: Shift at Traywick Contemporary

Cynthia Ona Innis.
 Shift, 2014; acrylic and satin on canvas; 
45 x 50 in. Courtesy of the Artist and Traywick Contemporary, Berkeley.

Our partners at Art Practical are celebrating their sixth annual Shotgun! issue, so today we bring you Maria Porges’ review of Cynthia Ona Innis: Shift at Traywick Contemporary in Berkeley, California. This article was originally published on September 25, 2014. Rather than being representations of place, Cynthia Ona Innis’ paintings are evocations of the experience of landscape. Innis favors locations where change is visible and constant—like Iceland, where she visited a year[…..]

Carving Through Borders at Galería de la Raza

Oree Originol. Untitled, 2014; wood, ink, and paper; 7 x 3 ft. Courtesy of the Artist and Galería de la Raza, San Francisco.

Congratulations to our partners at Art Practical on their sixth annual issue of Shotgun Reviews! Today’s review is from Matthew Harrison Tedford, who offers an assessment of the exhibition at Galería de la Raza in San Francisco: “At a time when the U.S. political system is failing to address immigration and when millions of American families risk being uprooted, Carving Through Borders offered a much-needed platform for conversation.” This article[…..]

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[…..]