Browse Recent Exhibition Reviews

Defining the art of a region in the twenty-first century is a thorny and onerous task. Like many professionals in the age of telecommuting, gig work, and academic precarity, artists relocate often. Similarly, influences stem from far and wide, making the old art historical distinctions of style as defined by geographical proximity difficult to apply in this day and age. The Regional, an exhibition jointly organized by Cincinnati’s Contemporary Arts Center (CAC) and Kansas City’s Kemper Museum of Contemporary Art, attempts to provide a snapshot of the art of today in the American Midwest. The museum directors’… Full Review

One might expect an exhibition focused on ten years of an artist’s practice to present a narrow slice of work, a partial—unsatisfying, even—picture of a lifelong creative evolution. Such a focus may seem best presented in book form. Yet Niki de Saint Phalle in the 1960s at the Museum of Contemporary Art San Diego (co-organized by the Menil Collection in Houston) exemplifies how a focused art historical examination of a particular portion of an artist’s career can make a successful exhibition. Saint Phalle is perhaps an especially noteworthy subject for such a presentation—over the course of a decade, changes in… Full Review

Sophie Taeuber-Arp: Living Abstraction was an exhilarating and expansive exhibition (and accompanying catalog) of the artist’s uniquely syncretic practice. Organized by Anne Umland (Museum of Modern Art), Walburga Krupp (independent curator), Eva Reifert (Kunstmuseum Basel), and Natalia Sidlina (Tate Modern), the project covers Taeuber-Arp’s nearly thirty-year career between World War I and World War II. As installed at MoMA, the exhibition was a knockout. It offered a thrilling vision of the artist’s work at every stage of her career—a presentation strikingly emancipated from hierarchies of patriarchy and media. The most surprising decision was the almost total exclusion of works by… Full Review

In the fractured social landscape of the United States, as we move into 2022, questions of identity haunt us. Identity politics, individual choice, the boundaries of the body and the state are all contested and unstable. This terrain of instability, which can feel like a collapse of the aesthetic projects of both modernism and postmodernism, is an opportune moment for investigating the continued significance of portraiture. Left Side Right Side, at Jacksonville’s Museum of Contemporary Art, adroitly gathered works in a variety of media that address and contest the meaning and use of the portrait in the twentieth and… Full Review

The spare beauty and formal patterning of succulents and magnolia blossoms are hallmarks of Imogen Cunningham’s most celebrated photographs. But most fascinating in Imogen Cunningham: A Retrospective, recently on view at the Seattle Art Museum (SAM), was the combination of clever form and psychological intensity in her portraits and nudes. Cunningham’s high-contrast close-up of Martha Graham from 1931 highlights the inward focus of the dancer’s mind as equal in importance to the expressive physical gestures she performs. The striking image of Graham, eyes closed with a neutral expression, conveys intense concentration in the act of translating emotion into… Full Review

A row of framed black-and-white photographs of artist Judy Baca hang on a hot-pink wall. Titled Judith F. Baca as La Pachuca (1976), this series depicts Baca styled as a “Pachuca,” a Mexican American female stereotype from the 1950s. In the photos, Baca wears a white, collared, button-up top, with a pack of Marlboros tucked into the cuff of her rolled-up sleeve. Her dark hair is teased, her painted eyebrows are dramatically arched, her eyeliner winged, her lips outlined, and a scarf is knotted around her neck. In each photograph, she puffs on a cigarette poised between long-nailed fingers, with… Full Review

The Victoria and Albert Museum (V&A) has flung open its doors following the cultural doldrums that marked the past year with a lavish exhibition that is striking for both its narrative and content. Visitors who have followed every Fabergé display and publication since the landmark 1977 blockbuster at the V&A marking the queen’s silver jubilee, and even those most familiar with the latest scholarship, are challenged from the threshold of the gallery’s enfilade. Surprisingly, there is not an imperial egg in sight when we first enter. Instead, we are greeted by miniature models of the Russian imperial regalia, the diamond-set… Full Review

August 2021 saw the opening of Exposure: Native Art and Political Ecology at the Museum of Contemporary Native Arts (MoCNA) in Santa Fe, New Mexico—a leading art venue in the global contemporary Native art scene. The show was an unprecedented response by fifty-four Indigenous artists (twenty of them in the APY Art Collective, an Australian Indigenous group) to the impact on Native peoples and the environment of the nearly seventy-six years of the Atomic Age. The 3,500-square-foot exhibition, spread out over four galleries, is an interdisciplinary mixture of forms and genres, and includes sculpture, video installation, photography, collage, glasswork, metalwork… Full Review

In the thirty-six years between the Corcoran Gallery of Art’s Black Folk Art in America, 1930–1980 (1982) and the Metropolitan Museum of Art’s History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift (2018), Black vernacular art from the southern United States became securely established within the “canon” of American art. Nellie May Rowe (1900–1982) was an abiding presence in these and other definitive exhibitions of that era. Viewers embraced her as a prolific visual poet who elevated the intimacies of domestic life to an angelic hierarchy of sublime memories, insightful portraiture, tenderly empathic tributes and elegies, and… Full Review

Jane Jin Kaisen: Parallax Conjunctures, the first solo exhibition in the United States by the South Korean–born visual artist and filmmaker (Danish, b. 1980), presented three media works that uncover repressed histories of postwar Korea and its diaspora. Two video installations, The Woman, the Orphan, and the Tiger (2010) and Sweeping the Forest Floor (2020), were presented on either side of the exhibition hall, and a photographic installation Apertures | Specters | Rifts (2016) was mounted in the center. Comprising an array of various historical references, political innuendos, and temporalities spanning the past hundred years, each work crafted a narrative… Full Review