REVIEWS

Suzanne Blank Redstone’s “1960s Portal Paintings”

JESSICA SILVERMAN GALLERY, San Francisco

View of Suzanne Blank Redstone’s “1960s Portal Paintings,” Jessica Silverman Gallery, San Francisco, 2016.
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Leigh Markopoulos

Fifty years after painting the earliest work in this exhibition, Suzanne Blank Redstone has her first solo show. The name may be unfamiliar, but her work at first glance appears to participate in a recognizably twentieth-century art-historical dialogue. Featuring primary-colored geometric forms and grids, her compositions instantly evoke Piet Mondrian,... continue reading
View of “Le Grand Balcon/The Grand Balcony,” La Biennale de Montréal, Musée d’art contemporain de Montréal, Montreal, 2016.
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Jacob Korczynski

“So long as we were in a room in a brothel, we belonged to our own fantasies. But once having exposed them, having named them, having proclaimed them, we’re now tied up with human beings, tied to you, and forced to go on with this adventure according to the laws... continue reading
View of Simon Denny, “Blockchain Future States,” Petzel Gallery, New York, 2016.
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Andrew Stefan Weiner

Few major exhibitions in recent memory have generated anything like the sort of intensely polarized response that greeted the recently concluded 9th Berlin Biennale, curated by the New York-based DIS, an increasingly notorious group of Gen X and Y “creatives” with close ties to the fashion and advertising industries. A... continue reading
Hanne Darboven

SPRüTH MAGERS, Los Angeles

Hanne Darboven, Erdkunde I, II, III (Geography I, II, III), 1986.
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Jonathan Griffin

Rows of numbers instill in me a sickening panic. I got that feeling, familiar from childhood mathematics lessons and annual tax returns, in Hanne Darboven’s current exhibition at Sprüth Magers, Los Angeles. Perhaps there was no need for such histrionics. In 1973, the West German Darboven told the writer Lucy Lippard... continue reading
Exterior view of FIAC at the Grand Palais, Paris, 2016.
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Sabrina Tarasoff

Adam Curtis’s new film HyperNormalisation (2016) is about the diffusion of power through the manipulation of the media. It posits that politicians adopted the basic tenets of techno-utopianism to create an oversimplified worldview of a global economic and political landscape which had become overwhelmingly complex. The creation of mass-mediated, caricatured villains,... continue reading
Artists' Talk at opening of Okayama Art Summit, 2016.
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Nick Currie

It’s a sunny autumn day in the small Japanese city of Okayama, and two British men born in the 1960s are conversing about cameras. Liam Gillick and I both own the retro-looking Fujifilm X-Pro1, which we’ve chosen for its impressive price-to-performance ratio. “I’ve used it a lot in my work,”... continue reading

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P420
Peres Projects
Anton Kern Gallery
X-TRA
GALLERIA MASSIMODELUCA
Magazine Mousse
Marion
Afterimage
Luisa Strina
The Third Line
sp-arte
Gallery Ernst Hilger
Aperture