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Browse Recent Exhibition Reviews
It has been a long time since a major American museum has undertaken an exhibition of Spanish art, and none has tackled as ambitious a subject as Spain in the Age of Exploration, 1492–1819. Organized by the Seattle Art Museum and Spain’s Patrimonio Nacional, the exhibition has a strong thematic content that is presented thoughtfully in a handsome catalogue and in the display of some one hundred rare objects. Most of the works are drawn from the Spanish royal collection, and many have never been seen outside of Spain.
Prominent art museums in the United States…
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April 25, 2005
Quietly stirring within the walls of Davidson College’s Van Every Gallery is war, violence, and sadness. It is a welcome surprise for the Charlotte region, whose most controversial dialogue on art tends to concern which Impressionist exhibition to visit. Although Davidson College consistently presents reputable but safe artists, the gallery’s director, Brad Thomas, has here curated a show that provides the public with artwork taking on substantive subject matter.
The exhibition combines functional craft of textiles with conceptual purpose, bringing together three separate groups—Hmong, Afghan, and Chilean peoples—whose work treats the violence and injustice that surrounds…
Full Review
April 21, 2005
Time/Space, Gravity, and Light, which complements Einstein, the major science-history exhibition on view at the Skirball Cultural Center through May 29, 2005, showcases recent digital art and multimedia installations that explore the same physical phenomena that captivated Albert Einstein throughout his life. The projects in Time/Space also embrace the world made possible by quantum mechanical devices, such as computers and electronics, which Einstein never knew. Glenn Phillips, research associate and consulting curator at the Getty Research Institute’s Department of Contemporary Programs and Research, ably organized the exhibition and paced the different modes of viewing, which range from the…
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April 19, 2005
Visually compelling and intellectually sophisticated, Mapping Sitting: On Portraiture and Photography, A Project by Walid Raad and Akram Zaatari presented a wealth of photographic materials from the collection of the Beirut-based Arab Image Foundation (AIF). Embracing current theoretical approaches to the display of visual culture, the exhibition, curated by two artists, offered a richly textured and highly nuanced picture of Arab photography and its relationship to questions of identity. If the history of photography from this region is as little studied as the artist-curators assert, then their show certainly constitutes an exciting opening gambit that should inspire further study.
…
Full Review
April 8, 2005
Hero, Hawk, and Open Hand: American Indian Art of the Ancient Midwest and South explores a period and a region of indigenous art little known even within the field of Native American art studies. Long studied by archaeologists, this vast area, roughly bounded by the Atlantic Ocean, the Mississippi River, the Great Lakes, and the Gulf of Mexico, has been largely neglected by art historians and art museums. The only previous large-scale exhibition of material from this region occurred nearly twenty years ago.[1] Recently, however, scholars have begun reevaluate the imagery of these ancient cultures, and interdisciplinary seminars held over…
Full Review
March 18, 2005
Gerard ter Borch is the first exhibition dedicated to this important seventeenth-century Dutch genre painter and portraitist in thirty years, and its accompanying catalogue simultaneously serves as the only comprehensive study on the artist to appear in English to date. The catalogue is smaller than that of the exhibition that took place in The Hague and Münster in 1974, and smaller still than Sturla J. Gudlaugsson’s truly monumental study of Terborch that appeared in 1959–60. Nevertheless, the present exhibition and catalogue open up some new avenues of inquiry, which is only natural given scholarly trajectories in the field over the…
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March 18, 2005
Despite the fact that Louise Bourgeois has been making art for more than seven decades, her drawings, sculptures, and installations are completely contemporary. At the age of ninety-four, she is, according to the exhibition curator Frances Morris, “the oldest of young artists” (10). Organized by Morris, senior curator at the Tate Modern in London, with Brenda McParland, head of exhibitions at the Irish Museum of Modern Art, Louise Bourgeois: Stitches in Time is an intimate and engaging exhibition of her recent fabric sculptures, drawings, and a handful of older engravings. After a European tour, the exhibition closes at the Museum…
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March 14, 2005
Recent, new, and commissioned works by artists from mainland China, Japan, South Korea, Taiwan, and Hong Kong are showcased in the exhibition Past in Reverse: Contemporary Art of East Asia, organized by the San Diego Museum of Art. The exhibition’s curator, Betti-Sue Hertz, aims to explore how such art references the past. As the idea of the “past” can mean many things, her thematic focus poses an unusual challenge for the viewer who may lack the requisite knowledge of the region known as East Asia. An illustrated catalogue with essays by the curator and other scholars and critics from…
Full Review
January 26, 2005
Provocatively described by the artist Joan Jonas as a Mannerist, Robert Smithson is certainly best, and sometimes only, remembered for his iconic earthwork pieces, in particular his Spiral Jetty of 1970 (Brian Conley and Joe Amrhein, eds., Collection of Writings on Robert Smithson [New York: Pierogi, 2000], 37). So does this epithet have any merit? The recent retrospective of Smithson’s work at the Museum of Contemporary Art, Los Angeles, the first such comprehensive exhibition in the United States, answered this with a resounding “yes.” Smithson’s formal language is certainly one of movement, space, spiritual intensity, anticlassicism, and the fusion of…
Full Review
January 25, 2005
Dutch and Flemish Drawings from the National Gallery of Canada was produced to celebrate the recent promised gift to the National Gallery of Canada in Ottawa of a group of Dutch and Flemish drawings assembled by collectors residing in Toronto.[1] In the exhibition, works from this generous gift have been supplemented with sheets from the National Gallery’s own collection. Ottawa already owns several outstanding drawings from this region, including Gerard David’s small metalpoint copies of heads from the Ghent Altarpiece (cat. no. 1). The private-collection pieces will add substantially to the existing holdings of eighty Dutch and Flemish drawings.
…
Full Review
December 20, 2004
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