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Review: ArtScene

June 28, 2017 - James Daichendt

..From Spiral Jetty to the present day, artists continue to push the way we interact with our environment. 'Vernacular Environments, Part 1' offers a number of aesthetically provocative perspectives that encourage us to reflect this inquiry..

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Art in America: A Day at the Beach, Walking with David Horvitz

June 28, 2017 - David Matorin

On the morning of June 10, as part of the group show "Paratextual," curated by Asha Bukojemsky at Samuel Freeman Gallery in Los Angeles (May 13–June 17), the LA-based artist David Horvitz led an off-site excursion to a public beach in Rancho Palos Verdes. A live addendum to his work Public Access (2010–11), which is included in "Paratextual," the artist guided a group of about twelve participants on a walk-and-talk to one of the beaches he photographed in the original project.

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Artillery Magazine: Review of Vernacular Environments

June 28, 2017 - Ida Safari

..Exploring the dialectic relationship between environments-both built and natural-and the figures that occupy those spaces, Vernacular Environments, Part 1 brings to light the complexities and temporality of the vernacular..

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Los Angeles Times Review: Amir Zaki

April 9, 2017 - David Pagel

The work of Los Angeles photographer Amir Zaki suggests that the world is too compelx a place for its nature to be conveyed in a single way or  by a single point of view. if truth and b eauty are to be discovered, as the ancient Greeks believed, a multilayered, many-sided approach is required.

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Art & Cake LA: Review of Marvel

April 8, 2017 - Amy Kaeser

Now through May 6th Kendell Carter’s solo show, Marvel is at Edward Cella Art & Architecture on La Cienega Boulevard, Los Angeles. An innovative set of site-specific installations, or “environments” as Carter prefers to call them; Marvel attempts to present meditations on race, gender, material culture, and shared history. As an artists who’s practice has continually transected the divide between art and life, Carter’s latest show casts its net far and wide to critique contemporary issues and policies: the police shootings of Keith Lamont Scott and North Carolina’s abject neglect of its LBGTQ communities, to representations of the South’s notorious “Jim Crow” laws of the 1950s. Carter’s willingness to confront and renegotiate the meaning of objects and attitudes of our highly charged socio-political moment is indicative of an artistic practice that is aware of the impact of visual culture.

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Artforum: Alex Schweder's ReActor

April 5, 2017 - Cynthia Davidson

The rituals of domesticity have long been a focus for cutting-edge practices in both art and architecture. Examples abound: Architects Elizabeth Diller and Ricardo Scofidio slyly subverted the politics of gender and labor underpinning household chores in their Bad Pres: Housework Series, 1993-98, which included a set of men's dress shirts pressed into bizarre shapes according to "Instructions for a Dissident Ironing"; artists Arakawa and Madeline Gins literally recalibrated the topography of the domestic landscape in their 2008 Bioscleave House (Lifespan Extending Villa), which sought nothing less than to challenge humankind's acceptance of its own mortality. Over the past ten years, the artists Alex Schweder and Ward Shelley have made a significant contribution to this ongoing and  cross-disciplinary inquiry, teaming up to test the relationships between architecture and domestic inhabitation in four performance projects, the most recent of which is ReActor, 2016, a boxcar-like-structure balanced on a single column and set on a hilltop at the Omi International Arts Center in Ghent, New York. 

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St. Louis Magazine: Kendell Carter

April 1, 2017 - Chelsie Hollis

"Transparency Shade: Seeing Through the Shadow," examines postcolonial identity at projects+gallery

Next week, St. Louis will have the chance to view new work from contemporary artists hailing from Antwerp, England, California, Johannesburg, Frankfurt, New York—and St. Louis. Curated by Senegal-born, Portland-based multi-disciplinary artist Modou Dieng, Transparency Shade: Seeing Through the Shadow is a group exhibition of 2- and 3-D artworks opening at projects+gallery in the Central West End on April 7. The show will feature work by Philip Aguirre y Otegui, Zoe Buckman, Kendell Carter, Ayana Jackson, Michael Riedel, and Hank Willis Thomas. St. Louis is represented by Kahlil Irving, who is currently best-known for his sculptural vessels, but who produces work in multiple mediums, including printmaking. Transparency Shade's theme is the complex system of signs and symbols that arise around race, gender, and self-concept, and how they continue to develop in new trans-cultural and hybrid forms. The artists are working in wide spectrum of media, including photography, printmaking, sculpture, and ceramics; pop culture is an inspiration for several of them, and many tend to mix, match, and hybridize forms. "We have about 25 pieces in this show—and of course few of them comprised of multiple objects in an installation form," Dieng says.

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Visual Art Source: Patti Oleon

March 31, 2017 - John Zotos

Patti Oleon’s newest series of paintings are grouped under the title “Neither Here Nor There.” They represent the fruits of a 2013 Guggenheim fellowship that allowed Oleon to travel Europe for source material. In her visits to Budapest, Prague, Venice, Berlin and Istanbul, she photographed the interiors of restaurants, hotel lobbies, museums, palaces and theaters, chosen for their historical significance. These public spaces were often teeming with people, something you would never know looking at the final product, wherein Oleon edits the images, concentrating on the physical surroundings.  Her interest lies in the manipulation of pictorial space through the reorganization, layering and mirroring of interior and architectural design elements. Her particular talent lies in creating mysterious virtual worlds filled with compelling reflections of light, sometimes in deep focus.

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Artscope Magazine: Guerrero at Eastern Connecticut University

March 31, 2017 - Kristin Nord

 Guerrero and Wright: Architecture Stories: Photographs by Pedro E. Guerrero at The Art Gallery at Eastern Connecticut State University

Willimantic, CT  – The year was 1939 — when the then 22-year-old Pedro E. Guerrero, his portfolio in hand, arrived at Taliesin West in Scottsdale in search of a job. Frank Lloyd Wright, in the midst of building the campus, needed someone to document the process. Despite the paltry pay and lack of job security, Guerrero signed on.

Wright had made an uncanny choice in hiring the young man who’d just narrowly escaped the segregated schools and pervasive prejudice of Mesa, Ariz. Guerrero’s intelligence and quick wit would stand him in good staid with the boss, and his remarkable portraits of Wright suggest the ease with which the two took to each other’s company. There was no question but that Guerrero would play a significant role in reinvigorating Wright’s career; his iconic photographs continue to exert a force.

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Art in America: Michelle Grabner

March 13, 2017 - Glenn Adamson

The last time Michelle Grabner had an exhibition at James Cohan Gallery, shortly after she co-curated the 2014 Whitney Biennial, Ken Johnson panned it in the New York Times. If the show had been “a satire of the artist as a comfortably middle-class tenured professor and soccer mom, it would be funny and possibly illuminating,” he wrote. “But it’s not.” To many observers, including me, the review read as mean-spirited, condescending, and sexist. An outcry was raised. Ripostes were written, such as an absolute scorcher by the painter Amy Sillman. Johnson stuck to his guns, taking to Facebook to mount a self-defense, but the art world consensus was against him. Not only had he given scant attention to Grabner’s work and disrespected her professionalism, but he had also implied (bizarrely) that to be a suburban woman was incompatible with being a serious artist. 

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