Browse Recent Exhibition Reviews

After describing Luca della Robbia’s achievements in marble and bronze, Giorgio Vasari goes on to note how much time he spent in making them, [and upon recognizing] that he had gained very little and that the labour had been very great, he resolved to abandon marble and bronze and to see whether he could gather better fruits from another method. Wherefore, reflecting that clay could be worked easily and with little labour, and that it was only necessary to find a method whereby works made with it might be preserved for a long time . . . after having made… Full Review

The Harwood Museum of Art of the University of New Mexico is the second oldest museum in the state, as reflected by its architecture. The entrance feels ecclesiastical, as you wind your way along the adobe walls and open the massive wooden blue doors, then you suddenly find yourself in a crowded gift shop, followed by a narrow corridor gallery. In 2019, Judy Chicago’s serigraphs lined those walls, with highly stylized images of a woman/earth mother giving birth to the cosmos. She is shown frontally, her legs splayed, her vagina stretched into an open wound with radiating lines flowing out… Full Review

C/O Berlin, a nonprofit venue established in 2000 and solely dedicated to photography, celebrated Boris Mikhailov’s eightieth birthday with an exhibition of five series of photographs. Case History, I am not I, Suzi et cetera, Diary, and the most recent, Temptation of Death, cover his work since the 1960s, when Mikhailov, who worked as a train engineer in Kharkiv, Ukraine, began taking photographs. He is an autodidact whose early work depicts people he knew. His success as an artist began after 1990, and he has lived part-time in Berlin since the late 1990s. Although the… Full Review

The undulating dotted lines of Mamultjunkunya (2009; pictured at left), by Warlimpirrnga Tjapaltjarri of the Pintupi language group, depict a site that appears, within the painting, to be in constant motion: Lake Mackay. This salt lake “features prominently” in the Tingari ceremonial cycle of Tjapaltjarri’s Western Desert region (15). Through song and dance, the ceremony recounts the ancestors’ fashioning of their “Country.” Within the gallery, Mamultjunkunya’s ripples muddle the eye-brain connection and, by extension, destabilize a sense of seeing and perhaps even of knowing. To an extent, the painting may be understood as a metaphor for one argument emerging… Full Review

Per(Sister): Incarcerated Women of Louisiana was a richly textured exhibition on the gender-specific effects of incarceration on cisgender and trans women in the state. The show was centered around a group of over thirty currently and formerly incarcerated women whose life stories formed the basis of visual artworks and music created by a diverse group of artists based in and beyond Louisiana. The works in the show ranged in style and included sculpture, painting, video, installation, photography, and original music played throughout the galleries. Participating artists were selected by museum staff and community stakeholders. The Newcomb Art Museum collaborated with… Full Review

Art and Empire: The Golden Age of Spain at the San Diego Museum of Art was an exceptional exhibition overall, from the quality of the artworks (one-third of them from the San Diego Museum of Art) to its bilingual wall text and even the use of augmented reality. The art of “Golden Age Spain” brings with it many entrenched and long-standing assumptions, such as the revered status of seventeenth-century Spanish painting and the artists whose names have become associated with this period: Diego Velázquez, Jusepe de Ribera, and Francisco de Zurbarán among them. Art and Empire attempted to redefine our… Full Review

Dramatic Impressions: Japanese Actor Prints was a delightful exhibition of a wide variety of Japanese woodblock prints, many on view for the first time. The prints were organized chronologically for the most part, beginning with the eighteenth century and ending with the twentieth. The choices of the curator, Jeannie Kenmotsu (assistant curator of Japanese art with the Japan Foundation), were excellent for a showcasing of numerous famous woodblock-print artists and their actor prints (yakusha-e) from the Kabuki theater celebrity culture. Detailed museum labels provided information for the uninformed viewer as well as specifics for the knowledgeable audience… Full Review

The Early Rubens exhibition organized by the Art Gallery of Ontario (AGO) and the Fine Arts Museums of San Francisco (FAMSF) is surely a visual feast to behold. With works drawn from a dizzying oeuvre that, given its prodigiousness and complexity, demands serious distilling, the exhibition succeeds in tackling key aspects of the monumental artistic output of Flemish painter Peter Paul Rubens (1577–1640) during his early mature period in a strikingly condensed and accessible manner. Surely, this is no small feat; for to paraphrase the erudite Rubens, one of the artist’s greatest ambitions was to provide… Full Review

“Understandings of history are rarely agreed and always shifting,” began the wall text that opened the British Museum’s Reimagining Captain Cook: Pacific Perspectives, in an effort to signal the exhibition’s investigation into the fraught legacy of James Cook (1728–1779), explorer and British Royal Navy captain. Rather than rehearsing well-known and tired narratives of Captain Cook as the heroic explorer and navigator, this exhibition attempted to reframe Cook’s legacy from the perspective of the people and places he impacted with his Pacific voyages. Thus, historical artifacts from Cook’s voyages were juxtaposed with artworks by contemporary Pacific Islanders that reveal their… Full Review

The latest iteration of the Museum of Contemporary Art (MCA)’s Ascendant Artist series featured the Brazilian artist Jonathas de Andrade (born 1982). This series has the virtue of occasionally highlighting younger artists from the Global South, even as the museum itself trends more toward blockbuster shows that lionize designers and musicians rather than advanced art (to name a few, David Bowie Is, 2014–15; Takashi Murakami, 2017; and Virgil Abloh, 2019). Andrade’s North American reputation rests primarily on the film O Peixe (The fish; 2017), a haunting parody of the ethnographic gaze acquired by the MCA… Full Review