REVIEWS

View of Mounir Fatmi's "Inside the Fire Circle," Lawrie Shabibi, Dubai, 2017.
by

Kevin Jones

“I don’t know what it’s like to be black in America,”(1) wrote the artist Dana Schutz in her protracted defense against calls for the removal and destruction of her painting Open Casket (2016). She was responding to mounting fervor over her rendition, included in the Whitney Biennial, of the mangled... continue reading
View of Donna Huanca’s “LENGUA DE BARTOLINA SISA,” Travesía Cuatro, Madrid, 2016.
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Juan Canela

September 5, 1782. Bartolina Sisa, Aymara leader of the indigenous uprising against the Spanish in Bolivia, is brutally tortured, publicly humiliated, and killed by hanging. Her body is dismembered and, to prevent further rebellion, her head and extremities are exhibited at several locations known for their resilience. Bartolina Sisa has... continue reading
“Concrete Island”

VENUS, Los Angeles

View of “Concrete Island,” Venus, Los Angeles, 2017.
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Travis Diehl

Word on the street is they got the Crenshaw Cowboy. Into a gallery, that is. Anyone who has turned onto the westbound I-10 at Crenshaw Boulevard has likely noticed him, an itinerant junk-assemblage artist who shows his sculptures at the top of the onramp. He also gives advice on fame... continue reading
Ralph Eugene Meatyard’s “American Mystic”

FRAENKEL GALLERY, San Francisco

View of Ralph Eugene Meatyard's "American Mystic," Fraenkel Gallery, San Francisco, 2017.
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Brian Karl

Capturing the unseen has been a taking-off point for photographic ambition since the medium’s inception. Ephemeral moments, underlying truths, and the supernatural have all been teased out through choices around opening and closing shutters. Featuring small-format photographs produced from the mid-1950s through the early ’70s, this exhibition at Fraenkel Gallery,... continue reading
View of Malick Sidibé’s “Chemises,” M+B Gallery, Los Angeles, 2017.
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Jennifer Piejko

Only someone with a lying mouth, according to Yoruba oral tradition, would speak first and look for visual confirmation second.(1) Untold centuries later, the expression retains its value: photography’s maneuvers depend on the fact that truth is determined by the eye. The complete history of photography is inextricable from colonialism in... continue reading
View of Josh Smith's "You Walk on Ahead, Go as Fast as You Want. I'll Follow Along Slowly. I Know the Road Well," STANDARD (OSLO), Oslo, 2017.
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Kjetil Roed

The visitor to Josh Smith’s show at STANDARD (OSLO) is faced with 11 Grim Reapers painted in oil on canvas, all of them equipped with the customary black robe and scythe. Smith’s angels of death are not solitary, otherworldly figures, but a motley crew rendered in a seemingly slapdash manner,... continue reading

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GALLERY

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M+B
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ARTIST

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Xavier Hufkens
Brooklyn Rail
Air the paris
Luisa Strina
e-flux iPad
Hilger
Aperture
Michael Kon
X-TRA
galeria nara roesler
flashart
sp-arte
GALLERIA MASSIMODELUCA