by Brinson Renda
on October 10th, 2011
Photos courtesy of 101/exhibit
For Wynwood’s Second Saturday, I made my way up to the Design District to check out San Francisco based artist Joshua Hagler’s first solo show at 101/exhibit, properly named, ‘Perceptions of Religious Imagery in Natural Phenomena.’ Freshly settled back in the States from his 6 month residency at MIRA in Martignano, Italy; one can see the direct influences this residency had on him. Pulling from his personal Christian upbringing, obscure Catholic Churches he explored in Italy and the classical baroque interiors of those spaces, Hagler fuses these references into something wonderful. I’d like to take you on a personal tour and urge you to go & visit this exhibit that’s on view till November 26th. Continue Reading More »
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by Lee Foley
on October 4th, 2011
Installation View, The Murder of Hi Good, 2011
“The Murder of Hi Good” is Lee Lynch’s first solo exhibition at Steve Turner Contemporary. The focus of the exhibition is a video that plays on a loop, in an installation that makes you feel as if you are part of an early-American Freemason convention. In a narrative format, “The Murder of Hi Good,” contributes to a revisionist history of the American west, at the same time inviting the viewer into a performance that contemplates the use of historical references and objects in contemporary visual art.
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by Gabriella Radujko
on September 28th, 2011
Andrew Moore, House on Walden Street, East Side, 2008, Digital chromogenic print scanned from film negative
Andrew Moore’s must see photographs in Detroit Disassembled at the Queens Museum of Art capture the ruinous state of Detroit after the collapse of the automotive industry. The colors are lush, the light, ecclesiastical; and Moore captures the intensity prescribed by Frederick H. Evans who urged photographers to “wait till the building make you feel intensely”. Continue Reading More »
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by Gabriella Radujko
on September 10th, 2011
Philip Evergood, list of contacts, ca. 1947.
It is hard to believe that the 1913 New York Armory Show took place less than 100 years ago. The seminal show drew laughs for its paintings and denunciations for their degeneracy, while the medium of photography, facilitated by Alfred Stieglitz, was inaugurated as a new art form, acceptable only as measured by proximity to the extreme paintings and sculptures on exhibit.
It is Picasso’s list of suggested artists for inclusion in the show, dated 1912, that makes a case for the subtleties that make this Morgan sleeper, “To-dos, Illustrated Inventories, Collected Thoughts, and Other Artists’ Enumerations from the Smithsonian’s Archives of American Art”, a must-see for anyone interested in art history or contemporary art or both. Through curatorial acumen, its 80 lists simultaneously remind us how different yet familiar at the same time the world is today from the one reflected in the exhibit. Continue Reading More »
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by Aaron Harbour
on August 30th, 2011
My fellow Americans. As a young boy, I dreamed of being a baseball, but tonight I say, we must move forward, not backward, upward not forward, and always twirling, twirling, twirling towards freedom.’- Kodos, Treehouse of Horror VII
‘…truth and…wonder in this country. For…energy and…inaction…love to move forward to…the exact same spot. In the end…time…needs all of you to deliver…the future.’- Excerpt from text edited from a presidential speech, part of Lauren Marsden’s Set for an Altered State, 2011
A tying off of sorts for her (productive) time spent in California, Set for an Altered State at Sight School in Oakland is Lauren Marsden’s first solo installation. The installation is a well conceived set of objects comprising a single, complete, immersive work. A cast off swim suit and sash of Miss Department of Energy (one of Marsden’s characters) sit in a pile of sand with a souvenir postcard of a de-ribbon cutting at a nuclear site decommissioning sits off to the side. There is a lectern with a remixed presidential speech (mashing power/energy, patriotism, and unity), a glitchy projection of idyllic wind turbines before a super blue sky, a pair of stage lights on the floor, and a , loud industrial fan activating a large, impossibly beautiful golden flag which emphatically flutters- all situated in the flat black gallery.
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by Gabriella Radujko
on August 9th, 2011
Yancey Richardson Gallery signaled appreciation for the naturalist John Burroughs by naming the summer group show Beautiful Vagabonds, the writer’s poetic keywords for birds. Few works exemplified a naturalist’s approach to photography, however, demonstrating fitting curatorial restraint for a subject-based show intent on catholicity. Among them Sustenance #114 by Neeta Madahar, Policeman by Jitka Hanzlová, American Goldfinches by Paula McCartney, and Terry Evans’ Field Museum, Drawer of Eastern Meadowlarks, works corresponding to what one would see in a natural history museum. Continue Reading More »
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by Howard Hurst
on July 23rd, 2011
Prism Schizm
Last Saturday I had the pleasure of taking a visit to the Hamptons to escape the oppressive New York City heat. Brooklyn based painter Ryan Wallace was my host and showed me around the latest exhibition at Halsey Mckay Gallery, a new summer long gallery venture. Their second show, Patterns and Light is a solo exhibition of work by San Francisco artist Chris Duncan. It’s funny that I came to escape the heat; walking into a room full of Chris’s work is like staring into the sun. The largest work in the show, Prism Schizm is the most obvious in this respect. The yarn construction is like a tapestry of homespun summer air erupting from a tiny quicksilver pyramid. Two floor level mirror constructs feel like pooled quicksilver set out to collect strings of color that ooze lazily from its grinning wall sized façade. Continue Reading More »
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