Monica Westin

“Landscape: the virtual, the actual, the possible?”

Yerba Buena Center for the Arts

December 2014

A collaboration between the YBCA, the Kadist Art Foundation, and the Guangdong Times Museum in Guangzhou, the ambitious group show “Landscape: the virtual, the actual, the possible?” defamiliarizes an influential trope in recent cultural… READ ON



Pier 24

October 2014

In its first several rooms, “Secondhand” appears to embody a diligent curatorial argument about notable trends in contemporary photographic practices surrounding found images, with by canonical work from Richard Prince and John Baldessari,… READ ON


Lisa Ross


August 2014

Lisa Ross’s large-scale photographs of found shrines nestled among the sand dunes of the Taklamakan Desert in the Chinese region of Xinjiang waver between landscapes and portraits of their absent creators. Made from branches and fabric … READ ON


Amie Siegel

Ratio 3

May 2014

Amie Siegel’s film Winter, 2013, opens with mysterious people drifting around a white biomorphic building that seems vaguely like a commune. They perform bird calls, weave the husks of plants, and, in a comical moment, patiently sit in … READ ON


Walead Beshty

Regen Projects

March 2014

The photographs, sculptures, and assemblages in Walead Beshty’s “Selected Bodies of Work” derive from three series that span a wide range of approaches to the evidence of labor in artistic production—from the almost purely formal to… READ ON


Tracey Snelling

Rena Bransten Gallery

January 2014

The large-scale posters and elaborate architectural models that make up Tracey Snelling’s exhibition “Mystery Hour” depict imaginary B movies whose premises are as facetious as they are seductively lurid: “She was married to a walking… READ ON


Regina Mamou

Historic Water Tower Gallery

November 2013

Regina Mamou’s latest architectural and landscape photographs depict bygone attempts to create utopian communities in America. Each work serves as a reminder that utopia literally means “no place.” Despite the large scale and clarity … READ ON


“Suicide Narcissus”

The Renaissance Society

October 2013

In the group exhibition “Suicide Narcissus,” curator Hamza Walker untethers the trope of the vanitas from historical still life paintings and, politicizing death with visions of environmental apocalypse, uses human self-extinction as a … READ ON


Owen Kydd


July 2013

It can be startling to remember that only in the past decade have we had the capability to choose, on a single instrument, whether to capture a still or moving image; perhaps one of the most overlooked side effects of digital mediation is … READ ON