Browse Recent Exhibition Reviews

Near the entrance to Everywhen: The Eternal Present in Indigenous Art from Australia, a group of framed works on paper, all modestly scaled and dating from 1971–72, hang in a line. For some viewers, their distinctive disposition of spirals, striations, lines, networks, and circles will immediately call up traditions of Indigenous mark-making and design in Australia. The media used are less familiar, though. Here it is not a case of the materials most often identified with Indigenous Australian art—natural pigments on bark, for example, or acrylics on linen or canvas. Nor is it a question of media that are… Full Review

There is much to celebrate about the exhibition Women of Abstract Expressionism curated by Gwen Chanzit for the Denver Art Museum (DAM), and indeed the mood of the show was decidedly exuberant in its design and content. From the breathtaking views of Helen Frankenthaler’s towering Jacobs Ladder (1957), Lee Krasner’s ebullient The Seasons (1957), or Elaine de Kooning’s explosive Bullfight (1959) to the reading room lined with archival photographs of laughing artists reveling in their 1950s studios, there was an air of excitement conjured throughout. This feeling was matched in the critical reception for the exhibition which has received much… Full Review

Josh Kline: Freedom, curated by Sara Krajewski for the Portland Art Museum, is the title of the first work in a projected five-work cycle by the artist. Each will imagine a future that extends out from the present’s particular techno-economic landscapes. Less a single work than an evolving cluster of works, Freedom has been previously exhibited at the New Museum (2015) and Modern Art Oxford (2015). The Portland Art Museum show marks its completion (public conversation between Krajewski and Kline, Portland Art Museum, July 22, 2016). Many reviews of Freedom have covered some of the work’s most apparent interests… Full Review

Installed in a city many consider ground zero for Black Lives Matter at a particularly volatile moment in U.S. race relations, Adam Pendleton: Becoming Imperceptible at the Contemporary Arts Center (CAC) in New Orleans is charged with a political urgency at odds with the artist’s restrained forms, prosaic typography, and cryptic citations. Yet the triumph—and challenge—of Pendleton’s language-based enquiries reside in their capacity to interrogate system and process as provocatively as they explore the African American experience. The show’s title, Becoming Imperceptible, evokes the ontological investigations of Gilles Deleuze and Felix Guattari, who coined the phrase, and a specifically… Full Review

The third incarnation of the San Francisco Museum of Modern Art (SFMOMA) opened to great fanfare in May 2016. The new building more than doubles SFMOMA’s galleries, increases by over ten times the educational facilities, and multiples by four the spaces devoted to cinema and performance. Despite the expanded potential, reactions were mixed. Much of the criticism focused on the architecture, notably the rippling facade of fiberglass-reinforced polymer panels. The sheathing incorporates white sand from the dunes of Monterey Bay that plays with the light atmospherically. Critics have described the facade diversely as “a giant iceberg” (Los Angeles Times… Full Review

“When you join an institution, you join its history as much as you work to create its future,” explained Museum of Contemporary Art, Los Angeles (MOCA), Chief Curator Helen Molesworth shortly after accepting the position in 2014. Since then, Molesworth has reinstalled the museum’s Grand Avenue galleries as The Art of Our Time (August 15, 2015–September 12, 2016). A revision of postwar art history, it began with the experimentalism of North Carolina’s Black Mountain College instead of the familiar crucible of New York City. Winding toward the present, Molesworth similarly articulated formal and conceptual sympathies between the familiar and the… Full Review

The exhibition We Chat: A Dialogue in Contemporary Chinese Art took its name from the popular social-media app in China, giving space and voice to ten artists born after the end of the Cultural Revolution (1966–76). These artists are some of China’s “Millennials” (known also as the “Me Generation,” and successors of what might be called the “Mao Generation”), who were of single-digit age during the 1989 Tiananmen Square protest-turned-massacre. Self-reflective and uninhibited by conventional social constructions of the past, the artists and their work suggest a new art history in the making. As a generation, they are similar to… Full Review

The exhibition Nari Ward: Sun Splashed at the Pérez Art Museum Miami (PAMM) is the first mid-career retrospective of the Jamaica-born artist, and it includes over two decades of his work. It overlapped with Firelei Báez: Bloodlines, a smaller solo exhibition of primarily paintings and drawings by the Dominican Republic-born Báez, a former student of Ward’s. Both artists live and work in New York City—Ward in Harlem and Báez in Brooklyn. Curator Diana Nawi installed Ward’s diverse oeuvre across three galleries. The works in the first gallery all dealt loosely with issues of inclusion, immigration, American… Full Review

Until recently, extensive thematic exhibitions on the Florentine maniera have been confined to Italian and, more specifically, Tuscan institutions. Elsewhere in Europe, however, the last few years have seen a reanimated interest in Mannerism: the latest, in the spring of 2016, was the large-scale exhibition Maniera: Pontormo, Bronzino and Medici Florence at the Städel Museum in Frankfurt. Organized by Bastian Eclercy—chief curator of Italian, French, and Spanish painting at the museum—the show focused on Florence as epicenter of “European Mannerism” in the pivotal period between the 1510s—when the Medici’s return to power coincided with the emergence of a new generation… Full Review

Enigmatic and engaging, the work of figurative artist Yasuo Kuniyoshi (1889–1953) combines American folk and Surrealist art with dreamlike perspectives (exhibition catalogue; 16). Influenced by early American art, modernism, and Japanese artistic expressions—such as flatness of form—his pictures are simultaneously rooted in tradition and the avant-garde and often underscore his proclivity toward contradictions (33). An artist frequently overlooked, Kuniyoshi immigrated to the United States from Japan in 1906, eventually residing in New York until his death in 1953. While critics considered him less frequently than his contemporaries, when reviewed, his works were positively received. The 2015 exhibition of his work… Full Review