Browse Recent Exhibition Reviews

The Great Purge carried out by the Stalinist authorities between 1936 and 1938 resulted in a widespread hunt for so-called enemies of the people. The People’s Commissariat of Internal Affairs, the secret police organization best known by its Soviet acronym, NKVD, persecuted hundreds of thousands of individuals for their alleged involvement in anti-Soviet activities. The reverberations of the purge were felt throughout the Soviet Union. Museum personnel were instructed to collect the works of artists condemned as anti-Soviet, as well as any object that bore traces of formalism, a loose, fluctuating term used by administrators to signal a reliance on… Full Review

Very few artists become targets of a public controversy or scandal over a work of art. But for those who do find themselves in such a predicament, it can have a lasting impact on their careers. In this media-dominated age, a public outcry over someone’s art usually becomes an identifying marker for that artist, if not of the artist’s own identity. And if the incident occurs in one’s formative years, then the artist faces an especially arduous task of ensuring that her or his work from then on is not defined by the controversy. In 1999, Chris Ofili… Full Review

In 1955, the Museum of Modern Art (MoMA) held a show entitled Latin American Architecture since 1945 that defined the parameters of how modern architecture in Latin America would be read. In the accompanying catalogue, curator Henry Russell-Hitchcock highlighted important points concerning architecture produced over the past decade in the region, addressing its protagonists, relationship to history and the visual arts, construction and use of reinforced concrete, and influences (Latin American Architecture since 1945, exh. cat., New York: Museum of Modern Art, 1955). In his analysis, the work was a “late comer” (61), had no great architectural “leaders,”… Full Review

A black, square Sony Trinitron TV. Headphones. On stage, a woman in her thirties holds a mic. Three men watch from a table. “The only smile in the history of art that we know is the Mona Lisa’s,” she says, “and we all know what kind of smile is that: it’s the smile that you put on when you wake up and your parents have shaved your eyebrows” (my transcription). Kasia Fudakowski’s Smile (2011) occupies a central space in the first gallery of Laugh-in: Art, Comedy, Performance at the Museum of Contemporary Art San Diego (MCASD). This video documentation of… Full Review

Upon entering the Los Angeles iteration of French artist Pierre Huyghe’s touring mid-career retrospective, curated for the Los Angeles County Museum of Art (LACMA) by Jarrett Gregory, viewers were given two things. The first was an introduction in the form of a performative artwork titled Name Announcer (2011). A bow-tied gentleman (at least it was a man every time I visited) asked your name and then would repeat whatever you said in a booming, officious tone as you crossed the threshold into the exhibition, whether or not there was anyone else around to hear. The second was an… Full Review

Northern Italian courts served as vital incubators for Renaissance artists, yet they are often overshadowed by larger cities such as Rome and Florence. Powerful rulers, discerning collectors, and taste-making humanists resided in these autonomous principalities. Renaissance Splendors of the Northern Italian Courts provides some much needed attention for these important artistic centers. Curated by Bryan Keene and Christopher Platts, the exhibition focuses on fifteenth-century manuscripts produced in Ferrara, Mantua, Urbino, and other Italian court cities. Despite being limited to a single gallery, it features works of art commissioned and produced by some of the most influential patrons and artists of… Full Review

At the entrance to the Seattle Art Museum’s (SAM) exhibition City Dwellers: Contemporary Art from India, visitors found themselves standing face to face with the father of the Indian nation and one of history’s most fervent critics of Western material culture. But in Debanjan Roy’s India Shining V (2008), the earphone-wearing Mahatma was covered from head to toe in shiny red automotive paint and had his eyes fixed firmly on an iPod screen. The title of the piece makes direct reference to the eponymous slogan used by India’s right-wing Bharatiya Janata Party (BJP) during the 2004 general elections to… Full Review

As I walked through the Wadsworth Atheneum’s recent large-scale exhibition Coney Island: Visions of an American Dreamland, 1861–2008, I could not help but ask: Did we really need a show on Coney Island? What does it bring to the intellectual and aesthetic table, so to speak, that would be important or crucial now? In theory, there are a number of compelling reasons to mount this show: a Coney Island exhibition would span a broad historical period; pull from a diversity of objects and media, thus expanding museum dialogues; and provide a platform for confronting race, class, gender, sexuality, and… Full Review

When the artist Jack Whitten (b. 1939) refers to his studio as a laboratory, he is speaking literally, not metaphorically. Fridges and industrial freezers are stocked with muffin tins, pans, and molds of all kinds filled with acrylic paint. Covering the walls are tools of every shape and size—many of which are homemade concoctions. Whitten even looks the part of a scientist; his studio uniform consists of a paint-splattered white lab coat and sneakers he spray-painted silver. Although Whitten frequently acknowledges his debt to Abstract Expressionist painters such as Willem de Kooning, Franz Kline, Barnett Newman, and Norman Lewis—artists he… Full Review

In her recently published Other Planes of There: Selected Writings, artist Renée Green describes her 1999 exhibition Partially Buried in Three Parts as an exploration “of genealogical traces,” where overlapping investigations examine the ways people reinterpret their past to their “contemporary relations to a natal patria” (Durham: Duke University Press, 2014, 275–276). The exhibition, for Green, was also a meditation on what site-specificity might mean when the concept of location is increasingly “affected for many by circuit relations, meaning that a sense of place and time can depend largely on where one’s computer screen is and when memory is… Full Review