Browse Recent Exhibition Reviews

Two recent exhibitions at the San Diego Museum of Art (SDMA) offer opportunities to contemplate the changing face of Mexican art in relation to issues of nationalism and identity. With curatorial assistance at SDMA from Amy Galpin and Julia Marciari-Alexander, Mexican Modern Painting from the Andrés Blaisten Collection presents eighty paintings from the first half of the twentieth century, complementing the San Diego Museum of Art’s permanent collection by including works by many of the same artists, such as Diego Rivera, Jean Charlot, Rufino Tamayo, and Alfredo Ramos Martínez. Although the exhibition loosely situates these works within the context of… Full Review

The Matter Within, presented at the Yerba Buena Center for the Arts and curated by Betti-Sue Hertz, is the first major survey in California dedicated to Indian art of the twentieth century. The show's title is, indeed, its own topic and conundrum. Eighteen artists, at various stages in their careers, are clustered under the umbrella term of “New Contemporary Art of India.” The criteria for artists included in this exhibition was dependent on their background as Indian and as artists whose works comment on the ever-changing Indian diaspora through video, photography, and sculpture. Some of the included… Full Review

Francesca Woodman was three months shy of her twenty-third birthday when she took her own life in 1981, and the San Francisco Museum of Modern Art’s (SFMOMA) surprisingly extensive retrospective of her work, curated by Corey Keller, is haunted by this fact. One reason is the attention and acclaim that has been given to Scott Willis’s 2010 documentary titled The Woodmans, which chronicled the family romance of artistic competition surrounding Francesca’s short life and career, noting among many other things that she jumped to her death five days before her father George was to enjoy the opening of a… Full Review

The collages of Kurt Schwitters—layered arrays of newsprint, packaging labels, advertisement fragments, train schedules, ticket stubs, envelopes, receipts, and even candy wrappers, all tacked down and anchored by expressionist paint—are surprisingly prescient for the postwar period, even proleptic. Although produced between 1918 and 1947, they nonetheless register a communications environment familiar to the second half of the twentieth century; their readymade accumulations of word and image suggest a relentless media barrage and advertising assault, a constant flow of data and information. Schwitters called these collage works “Merz”—a neologism he coined from the second syllable of the German word Kommerz… Full Review

The Walter De Maria: Trilogies exhibition at the Menil Collection is a sparse, elegant, and highly controlled experience. Despite this, the show manages to play nimbly with the essential premise of a retrospective, offering three series of new works that are each complete on their own, but reprise and revise older pieces, just as the Menil mines its own institutional legacy.[1] The exhibition begins in the museum’s foyer, where viewers are surrounded by three large monochromatic canvases—one yellow, one red, one blue—that articulate the De Stijl ideal of the integration of painting and architecture to construct a utopian… Full Review

The thirty-seven alabaster figures—most of them roughly sixteen inches tall—that visited the superbly expanded and renovated Virginia Museum of Fine Arts this spring have now completed their second of three years on the road. Having never before been seen as a complete grouping outside of France, in early 2010 the sculptures left Dijon’s Musée des Beaux-Arts for a seven-stop American tour that began at the Metropolitan Museum of Art and concluded in Richmond. From there they have proceeded to Bruges and now Berlin, two cities added after their voyage began. Organized by the French Regional American Museum Exchange (FRAME) and… Full Review

South Los Angeles. August 1972. A crowd of 100,000 spectators fills the Los Angeles Coliseum to commemorate the seventh anniversary of the 1965 Watts uprisings. Jesse Jackson delivers a rousing invocation, inciting the crowd to raise their fists in solidarity. The occasion: Wattstax Music Festival, the black analogue to Woodstock. Footage from this event went largely unnoticed until the 2004 re-release of Wattstax, Mel Stuart’s 1973 documentary of the landmark concert. A mash-up of interviews and live concert footage, Wattstax highlights the urgent political climate of the 1960s and 1970s that fostered emerging discourses around identity, resistance, visibility, and… Full Review

Plagued by migraines and seemingly allergic to the sun-dappled environs in which she spent so many of her years, Joan Didion nonetheless wrote into being a host of characters that participated in a dissolute Golden State fantasy. Her stories from the 1960s evoke the siren cupidity of a nostalgic, decidedly prelapsarian California, even as they admit an illusion fraying at the seams. That her essays from the other side of the long decade comprise such topics as Malibu fires, Jerry Brown, and Sharon Tate might not surprise. Still, her 2003 memoir, Where I Was From (New York: Vintage), tenders a… Full Review

At the outset, the recent exhibition Masters of Venice: Renaissance Painters of Passion and Power from the Kunsthistoriches Museum, Vienna was presented as both a close look at sixteenth-century Venetian painting and as a chapter in the history of collecting. The collection of Europe’s dominant imperial family, the Habsburgs, is now housed in Vienna’s Kunsthistorisches Museum; because that museum’s Gemäldegalerie (Picture Gallery) is undergoing renovations, fifty paintings from the permanent collection were made available for exhibition at the de Young Museum in San Francisco. Some of the works on display were acquired by Archduke Leopold Wilhelm of Austria… Full Review

Even during the midst of Michelangelo Merisi da Caravaggio’s meteoric Roman career, questions were raised concerning the singularity and originality of his manner and its impact upon young artists of his own generation. In fact, it was Caravaggio himself, Carlo Cesare Malvasia reports, who was the first to ask why artists adopted his manner, pressing to know to what end Guido Reni had transformed himself into the Lombard painter after seeking out Caravaggio’s paintings for purchase (would that we knew which ones). The flagrant theft of his manner and his coloring, Caravaggio made abundantly clear, could cost the Bolognese painter… Full Review