Browse Recent Exhibition Reviews

We live in a country divided. Americans today are struggling to have frank, productive dialogues about politics, civil liberties, and social issues. Thanks to livestreaming and social media, our impassioned reactions, firsthand accounts, and official statements catalog each day’s debates in real time and on a vast public scale. While it is tempting to attribute our current state of the union to uniquely twenty-first-century problems—terrorism, technology, or globalization, to name a few—it is clear that neither these issues nor our reliance on real-time, real-talk commentary are new. In fact, America is presently grappling with many of the same challenges that… Full Review

From first glance, it was clear that the exhibition Gods and Mortals at Olympus: Ancient Dion, City of Zeus was more than an impressive collection of ancient sculpture. It was a show with a clear didactic objective: to illuminate the accomplishments of the archaeologists and conservators who had worked for forty-five years to systematically unearth and preserve the rugged ancient city of Dion. The exhibition illustrated the potential of scientific and systematic excavations, with every object identified with a findspot and interpreted within an ancient context. Considering this, it was not surprising that it was archaeologist Dimitrios Pandermalis, director of… Full Review

“How many minutes would you invest in looking at a particularly striking photograph?” I asked this of my History of Photography students last year, and the response came not in minutes but in seconds. They largely used Instagram as their default experience: “six seconds” answered one of the more thoughtful students. “No,” argued another, “maybe three seconds, if it’s attached to text on a blog.” Thus the understandable motivation of undertaking an exhibition like Photo-Poetics: An Anthology, particularly its passionate advocacy of investing time in looking closely at photographs. In the opening wall text of her Guggenheim… Full Review

Architecture of Life, the University of California, Berkeley Art Museum and Pacific Film Archive’s (BAMPFA) inaugural exhibition in its new building, opens with something of a self-portrait. A photograph, taken four years before the museum itself would open to the public, shows a hand holding an early architect’s model of the new building. In the black-and-white image, the wood model is a small, abstracted form that has been sanded, blackened, and polished to a fine sheen. The hand holds the tiny wooden “museum” between its thumb and forefinger, gripping the middle of the model at the exact point in… Full Review

In retrospect, I see how my experience of the Sonia Delaunay exhibition at Tate Modern, like that of many other London tourists, was inescapably shaped by other shows on view at the same time. Visiting one after the other in quick succession, I started thinking of them as a whole, each contributing in its own way to the construction of the city’s curatorial “brand.” The Tate’s recent efforts to foreground women artists—Sonia Delaunay; Agnes Martin, also at Tate Modern (June 3–October 11, 2015); and Barbara Helpworth at Tate Britain (June 24–October 25, 2015) (click here for review)—made a… Full Review

Ingesting Electronic Superhighway: From Experiments in Art and Technology to Art After the Internet brought about the familiar experience of an overdose one might have after seeing an art fair or large-scale biennial. This ambitious exhibition, covering fifty years of digital culture and curated by Omar Kholeif, considered how the world’s ceaseless flow of electronic information and unrelenting proliferation of images have come to impact contemporary art. In her introduction to the extensive companion catalogue, Whitechapel Gallery Director Iwona Blazwick describes the nature of the “electronic superhighway” and the exhibition itself as “a place of information and confusion, euphoria and… Full Review

The exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World presented significant examples of monumental bronze sculpture from the Hellenistic period (323 BCE–27 CE). Curated by Jens Daehner and Kenneth Lapatin, both of the Getty Villa, Power and Pathos not only examined the historical context of these Hellenistic bronzes, but also addressed the importance of bronze as a medium for depicting the movement and expression that are characteristic of Hellenistic art. Although monumental bronze sculptures were highly valued in antiquity, they rarely survive today, and the few remaining examples are often displayed individually in museums. As Daehner and Lapatin… Full Review

Retrospectives devoted to individual artists and artist collectives like Gran Fury have addressed HIV/AIDS, as have smaller gallery shows; however, large-scale exhibitions about the epidemic remain rare. Art AIDS America aims to be the most comprehensive exploration of the impact of AIDS on the course of American art. Organized by Tacoma Art Museum and the Bronx Museum of the Arts and co-curated by Rock Hushka, chief curator at Tacoma Art Museum, and Jonathan D. Katz, director of the Visual Studies Doctoral Program at the State University of New York, Buffalo, this multimedia exhibition surveys artistic responses to AIDS from the… Full Review

“Klein, aber fein” goes the German saying: small, but excellent. That is how I would describe the exhibition organized by the Metropolitan Museum of Art to showcase drawings by Matthias Buchinger (1674–1740) from the collection of Ricky Jay. The phrase could describe Buchinger’s drawings, which are astonishing examples of micrography, a technique whereby minutely drawn words create an image. The practice has a long history, which the exhibition examined, but by any standard Buchinger was an exceptional practitioner of the art. “Klein, aber fein” could also be applied to Buchinger himself, since he was born without legs or hands and… Full Review

Co-curated by Paul Schimmel, former chief curator of the Museum of Contemporary Art, Los Angeles, and partner and vice president at Hauser and Wirth; and Jenni Sorkin, art historian, critic, and assistant professor of contemporary art history at the University of California, Santa Barbara, Revolution in the Making: Abstract Sculpture by Women, 1947–2016 felt like an ambitious museum exhibition, especially with its impressive roster of thirty-four artists working across so much of the twentieth century and into the present. And yet it was the inaugural project at Hauser Wirth and Schimmel, a commercial gallery-cum-arts complex. Located in the heart of… Full Review