Posts Tagged ‘Sculpture’


Davina Semo. SHE FOUGHT WITH THE KID WHO THREW ROCKS AT HER DOG, 2015; leather, pigmented reinforced concrete, waxed steel chain; 18 x 18 x 2 1/2 in. Courtesy of the Artist and CAPITAL, San Francisco.

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, Colin Fernandes reviews Davina Semo: APPROACH OR ENTER at CAPITAL in San Francisco. APPROACH OR ENTER, the title of Davina Semo’s solo show at Capital Gallery,[…..]

Something to Take My Place: The Art of Lonnie Holley at the Halsey Institute of Contemporary Art

Lonnie Holley. Blood on the Shoes of a Civil Rights Worker, 2005; installation view, Something to Take My Place, 2015. Courtesy of the artist and the Halsey Institute of Contemporary Art, Charleston, SC. Photo: Rick Rhodes.

“I am an artist of America,” declared Lonnie Holley during a talk for the opening of his exhibition at the Halsey Institute of Contemporary Art in Charleston, South Carolina. This self-identification was Holley’s response to being labeled a folk artist throughout his career. While the visibility of his work may have suffered due to this label—his most recent solo museum show was in 1994—Holley proves[…..]

Mona Hatoum at ICA Boston

Mona Hatoum. Natura morta (Edwardian vitrine), 2010; Murano glass and cabinet; 54 ½ x 24 x 11 ¾ inches. The Institute of Contemporary Art, Boston. Gift of Barbara Lee, The Barbara Lee Collection of Art by Women. Courtesy of Alexander and Bonin. Photo: Joerg Lohse.

Mona Hatoum’s solo exhibition, currently on view at Boston’s Institute of Contemporary Art, is made entirely of newly gifted works from philanthropist and political activist Barbara Lee. The Barbara Lee Family Foundation is focused on advancing female representation in politics. Lee is a major supporter of Hilary Clinton, in addition to being a collector who has shifted her focus exclusively to female artists. At the[…..]

From the Archives – Material Practices: Stitching, Fabric, and Textiles in the work of Contemporary Chinese Artists

Yin Xiuzhen, Portable City, Sydney, 2003       photo: Yin Xiuzhen         collection by Sherman Contemporary Art Foundation, image courtesy the artist

For Labor Day weekend, we bring you this piece from the archives that deals with gendered, often invisible labor—the kind not celebrated on national labor days. Luise Guest explores the work of several contemporary Chinese women artists using embroidery in revolutionary ways. This review was originally published on January 10, 2014. Mao Zedong once said that revolution is not a dinner party. Less famously, he said[…..]

From the Archives: Pierre Huyghe at LACMA

Pierre Huyghe. Untitled (Human Mask), 2014. Film. Courtesy of the artist; Hauser and Wirth, London; Marian Goodman Gallery, New York; Esther Schipper, Berlin; Anna Lena, Paris. © Pierre Huyghe

This month marks the opening of the first major Australian solo exhibition of Pierre Huyghe’s work at the TarraWarra Museum of Art, so today we revisit this review by Alex Bigman, who assesses the humor and mythology of Huyghe’s retrospective at the Los Angeles County Museum of Art. This article was originally published on January 21, 2015. There is a scene in Pierre Huyghe’s shadowy, dreamlike film The Host and[…..]

Walter Robinson: Home Grown at the Palo Alto Art Center

Walter Robinson. Spin, 2008; wood, epoxy, steel, and metal flake; 52 x 26 x 22 in. Collection of Donald Kushner. Courtesy of the Palo Alto Art Center.

From our partners at Art Practical, today we bring you a review of Walter Robinson: Home Grown at the Palo Alto Art Center. Author Maria Porges notes: “The cumulative effect here is one of nostalgia—sometimes for things that never really existed—mixed with a strange kind of déjà vu. Not only have we been here before, but we will be here again, over and over, as we[…..]

Jason Kalogiros: The Measure, The Weight, The Ground, The Scale at CAPITAL

Jason Kalogiros. Untitled (Drawing), 2015; unique gelatin silver photograph; 24 x 20 in. Courtesy of the Artist and Capital, San Francisco.

 Today from our partners at Art Practical, we bring you a review of Jason Kalogiros’ current solo show at Capital in San Francisco. Author Danica Willard Sachs notes, “[T]he artist employs the methodology of photography to interrogate the discrete boundaries between media.” This article was originally published on July 2, 2015. The process of making a photograph bears striking resemblance to the process of making a bronze sculpture.[…..]