Browse Recent Exhibition Reviews

Okwui Enwezor’s 2015 edition of la Biennale di Venezia, All the World’s Futures, opened with a somber installation on the facade of the Central Pavilion in the Giardini. At its summit, the striking words of Glenn Ligon’s neon marquee—“blues blood bruise”—announced themes of violence, suffering, death, and sorrow, as well as the role of music as a medium of collective resistance and power. Just below this sign, viewers confronted the Colombian artist Oscar Murillo’s series of black, patched canvases, hung as if they were curtains across the pavilion’s arcade, turning it into a monumental proscenium stage. Passing through the… Full Review

William Pope.L: Trinket at the Museum of Contemporary Art, Los Angeles (MOCA), opened shortly after thousands took to the streets in protest of the Staten Island grand jury’s failure to convict the New York Police Department officer charged with Eric Garner’s death. While heightened media coverage of this and other social injustices resulting from racially motivated aggressions may have weighed heavily on those visiting the exhibition, it is unlikely that viewers would find aesthetic comfort in Pope.L’s recent works. Indeed, when the exhibition’s namesake—Trinket (2008/2015), a sixteen-foot-tall American flag writhing in the wind of four intimidating industrial fans—was first… Full Review

When speaking of modern landscape painters, John Ruskin argued that these artists see nature with “totally different eyes” and consequently offer spectators impressions rather than imitations of the natural world (John Ruskin, Modern Painters, New York: Wiley and Halsted, 1858, 75). A century after Ruskin published his influential text, the English sculptor Dame Barbara Hepworth similarly stated: “When a sculptor is the spectator . . . the artist tries to find a synthesis of his human experience and the quality of the land-scape” (Barbara Hepworth, A Pictorial Autobiography, New York: Praeger Publishers, 1970, 93). Ruskin’s theory, which only… Full Review

Puncturing the vertiginous pace of New York life is the poetic silence of the Doris Salcedo retrospective at the Solomon R. Guggenheim Museum. The Colombian sculptor’s works address violence and are renowned worldwide as sites of collective mourning and reflection. The technical virtuosity of her installations make a retrospective nothing less than a herculean task, bravely undertaken in this case by the organizing institution, the Museum of Contemporary Art Chicago (MCA), and co-curated by Pritzker Director Madeleine Grynsztejn and curator Julie Rodrigues Widholm. The exhibition consists of ten installations that span Salcedo’s thirty-year practice, viewable on the MCA’s website… Full Review

In his first major exhibition in the United States, Egyptian artist Wael Shawky (b. 1971) presented three elaborate films featuring fantastical marionettes performing Amin Maalouf’s The Crusades through Arab Eyes (1983), a book originally written in French but here translated into classical Arabic. Following the exhibition layout at MoMA PS1, viewers first encountered the production materials—sketches, sets, and the marvelous puppets—before entering the darkened screening rooms. The films were not simply synthetic narrative entertainment, but highly constructed performances, and viewers possessed an intimate knowledge of how they were made. Part of the Museum of Modern Art’s (MoMA) wider push to… Full Review

Of all the characters passed down from Giorgio Vasari’s Vite, it is Piero di Cosimo perhaps more than any other who came to embody the belief widely held in the Renaissance that art imitates life. What is known of his biography is remarkably sparse, apart from the stories Vasari gleaned as a young apprentice in the workshop of Andrea del Sarto, once a pupil of the eccentric master. Born in 1462, Piero was actually the son of Lorenzo d’Antonio, not a goldsmith (as Vasari would have it) but a succhiellinaio, or blacksmith. Throughout his career, Piero held an… Full Review

Mark Bradford’s solo exhibition, Scorched Earth, curated by Connie Butler at the Hammer Museum in Los Angeles, included twelve paintings, a mural, and a sound installation. Scorched Earth was tough and admirably far-reaching. Exquisitely detailed, the paintings evoked pain and violence. They looked inward and back, and they were surprisingly aqueous. Three haunting, untitled, twelve-foot-by-twelve-foot, black-and-white, unstretched canvases in a low-lit section of a gallery at the Hammer suggested dusky rivers and abrupt stops where Bradford accumulated, stained, and resisted staining by laying on and pulling away wet paper. One of Bradford’s signature text paintings seemed like a… Full Review

Philippe Parreno’s exhibition H {N)Y P N(Y} OSIS at the Park Avenue Armory offered New Yorkers a comprehensive view of a practice that has, since the 1980s, used cinematic and scenographic devices to merge art and reality. Building on his recent retrospective at the Palais de Tokyo in Paris, the installation construed the cavernous Armory space as a “street” lined with twenty-six of Parreno’s characteristic lightbulb marquees, and culminated in a set of bleachers that rotated to face three suspended screens. Onto these were projected four films made since 2000: Anywhere Out of the World (2000); June 8, 1968 (2009)… Full Review

The exhibition Habsburg Splendor: Masterpieces from Vienna’s Imperial Collections at the Kunsthistorisches Museum (KHM) is the result of collaboration among the Minneapolis Institute of Arts, the Museum of Fine Arts in Houston, the High Museum of Art in Atlanta, and the KHM in Vienna. The show contained nearly one hundred paintings and artifacts that illustrated the development of courtly patronage and representation over the course of more than half a millennium. Curated by Monica Kurzel-Runtscheiner, the exhibition took a broad multidisciplinary approach that focuses on the history of the imperial family and the range of visual and figural media used… Full Review

International Pop recounts the emergence of Pop art from the 1950s through the early 1970s and takes a global approach to a phenomenon, which in its various iterations, responded critically and imaginatively to radical cultural and political currents. By including art across media and produced by artists associated with movements that originated in Europe, Asia, and North and South America, the show aims to broaden the scope of what previous exhibitions and prevailing scholarship have conceived of as “Pop.” These comparisons and confrontations reveal the myriad ways in which international artists deployed strategies and aesthetic modalities that alternately coincided with… Full Review