Browse Recent Exhibition Reviews

Georgia is a country in the Caucasus with a strong tradition of Eastern Christian art. Secular visual art developed here in the early twentieth century. Although it had been part of the Russian Empire since the early nineteenth century, Georgia enjoyed a brief period of independence as a democratic republic from 1918 to 1921. The capital, Tbilisi—or Tiflis, as it was then widely known—became an important destination for intellectuals fleeing the Bolshevik Revolution and the Russian Civil War. The city also quickly became a center for the international avant-garde. This overlooked chapter from the history of European modernism recently received… Full Review

The Danish-born immigrant, inventor, performer, and artist Thomas Wilfred (1889–1968) made art on his own terms, literally. He dubbed his brand of work Lumia, a neologism designed to break with the past and establish a new artistic genre consisting solely of moving electric-light displays. Fifteen of Wilfred’s works, dating from the 1920s to the 1960s, were painstakingly restored for this luminous, and illuminating, exhibition. Accompanied by a beautifully produced and informative catalogue, Lumia: Thomas Wilfred and the Art of Light offered a unique opportunity to be immersed in the work and ideas of an artist whose last retrospective was held… Full Review

Mona Hatoum: Terra Infirma at the Menil Collection, the artist’s first major solo exhibition in the United States in about two decades, presents an overview of Hatoum’s career in a nuanced yet direct manner. Hatoum’s work benefits from its quick metaphorical wit; however, this initial, deceptively easy clarity lingers and transforms into something else entirely, an experience underscored by the work’s placement throughout various rooms of the Menil Collection. Both artist and space offered the works for the viewer’s own interpretation, although attention to their specific historical and political context is frequently warranted by Hatoum. The majority of the exhibition… Full Review

On the occasion of the milestone exhibition Twenty Centuries of Mexican Art, organized by MoMA in 1940, critic, anthropologist, and cultural promoter Anita Brenner stated that the brilliant artistic scene that arose in Mexico in the early 1920s had reached its eclipse. For Brenner, as well as other influential voices from the arts field, the show at MoMA did not embody the true richness and complexity of two decades of intense artistic exploration in Mexico. Instead, it demonstrated how a series of avant-garde movements had become part of an institutional discourse. Other voices were less critical. Painter and anthropologist… Full Review

Camille Billops and James V. Hatch are artists, educators, archivists, and activists who dedicate their lives to creating, teaching, collecting, and preserving art that reflects the experiences of the African diaspora. Pellom McDaniels III, curator of African American Collections at the Stuart A. Rose Manuscript, Archives, and Rare Book Library at Emory University, curated an exhibition and book based on the Camille Billops and James V. Hatch Archives and the James V. Hatch and Camille Billops Papers housed at the Emory University library. The exhibition and catalogue, both entitled Still Raising Hell: The Art, Activism, and Archives of Camille… Full Review

Zhang Peili: Record. Repeat. represents a significant scholarly work on Zhang Peili, the multimedia artist often acknowledged as China’s first video artist. The exhibition at the Art Institute of Chicago (AIC) featured twelve video works made between 1988 and 2007, including five large, multichannel installations. It opened with 30 × 30 (1988), considered the first video artwork made in China. The single-channel, thirty-two-minute-long video shows in tight close-up Zhang’s white-gloved hands and sneaker-clad feet as he shatters a mirror and then painstakingly reassembles it piece by piece, before breaking it again. The exhibition’s most recent work was also… Full Review

Carmen Herrera: Lines of Sight was a groundbreaking exhibition at the Whitney Museum of American Art, and its catalogue—with essays by Dana Miller, Gerardo Mosquera, Serge Lemoine, and Edward J. Sullivan, over one hundred full color plates, and a chronology by Moñica Espinel—is the perfect supplement. Carmen Herrera (b. 1915, Havana, Cuba) is female, Cuban, and an abstract and minimalist painter and sculptor. Her art background is in architecture and painting, and she utilizes both of these disciplines in her work. Before Carmen Herrera: Lines of Sight opened at the Whitney Museum in fall 2016, Herrera’s name and her work… Full Review

Visitors to the exhibition Louis Kahn: The Power of Architecture, at the Fabric Workshop and Museum in Philadelphia—the final venue of an international, five-year tour—were greeted by a larger-than-life photographic portrait of the architect, his striking profile and silver hair outlined against the dark background, finger thoughtfully touching his lips and barely concealing a bemused smile. Cocurated by Stanislaus von Moos and Jochen Eisenbrand for the Vitra Design Museum, the exhibition and the lavishly illustrated catalogue with contributions by major scholars probed the many facets of this enigmatic, uncategorizable architect who daringly looked back to the classical past to… Full Review

The exhibition Kul’ttovary: Bringing Culture into the Soviet Home at Florida State University (FSU) was a welcome contribution in the area of Soviet design history. In narratives about this period, familiar tropes about lack of choice and low-quality, reverse-engineered copies are often contrasted with the iconic products of the United States, such as an Eames chair or the ’57 Chevy. However, this juxtaposition often involves thinking about design through certain Western assumptions, and can get in the way of a more thorough exploration of the history of Soviet material culture, a world precisely not driven by the values… Full Review

Rice University’s 300-acre campus is a bucolic enclave situated between the Museum District and the Texas Medical Center, all to the south of downtown Houston. The bulk of its academic buildings are clustered at its axial and planned core. Its north edge and east edge along Main Street are tree lined, well groomed and park-like. Its south and west edges are less tidy, however, and are lined with more functional structures—sports fields and surface parking lots. The Moody Center for the Arts, designed by Michael Maltzan Architecture in Los Angeles and opened in February 2017, is not part of the… Full Review