Browse Recent Exhibition Reviews

David Smith: Cubes and Anarchy is the first major presentation of Smith’s work on the West Coast since the Los Angeles County Museum of Art’s (LACMA) own memorial exhibition held in 1965, which consisted of a dozen works from the Cubi series and two Zigs, all executed in the last years of his life, from 1961 to 1965. The present exhibition seeks to set these late works in context by demonstrating that Smith’s use of geometric form in these sculptures did not represent a departure for the artist, as has often been claimed, but was the culmination of a… Full Review

Robert Smithson (1938–1973) once remarked, “I’m not a reductive artist, I’m a generative artist” (Moira Roth, “An Interview with Robert Smithson (1973),” in Eugenie Tsai, ed., Robert Smithson, Berkeley: University of California Press, 2004, 88). The Smithson Effect, an exhibition at the Utah Museum of Fine Arts exploring Smithson’s afterlife in the work of other artists since the 1990s, proves that his generative quality exceeded even his own lifetime. With The Smithson Effect, curator Jill Dawsey brings together twenty-two contemporary artists whose work either appropriates Smithson’s or explores his central concepts in new directions. This visually arresting… Full Review

The Peacock Room at the Freer Gallery of Art has been many things to many people. Designed by Thomas Jeckyll as a dining room with leather walls and intricate shelving, and radically redecorated by James McNeill Whistler in 1876–77, it originally grew around Whistler’s Princesse du pays de la porcelaine (1863–64) and showcased the blue-and-white Chinese porcelain of Whistler’s London patron Frederick Leyland. In 1904 it was purchased by Charles Lang Freer and installed in a special wing of his Detroit home. By that point, Freer had already begun to envision the room in his future museum, and it has… Full Review

The exhibition Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan focuses on sculptural fragments from, and the subsequent digital reconstruction of, the Buddhist cave temple site of Xiangtangshan, located in Hebei Province in northern China. The inception of the site dates to the short-lived yet prolific Northern Qi Dynasty (550–577), the subject of the accompanying international conference held at the Freer Gallery on June 3–5, 2011. The name Xiangtangshan may be translated as “Mountain of Echoing Halls.” The name seems fitting, as the exhibition and accompanying illustrated catalogue examine the site as it reverberated during three distinct historical… Full Review

Curated by Donald Albrecht and Thomas Mellins, The American Style: The Colonial Revival and the Modern Metropolis was a delightful and instructive exhibition. In one ample room, divided by projecting vitrines and one partial transverse wall, they displayed paintings, drawings, prints, furniture, ceramics, glass, photographs, and even current wallpaper. Various forms of classical revival became widely acknowledged from the late 1870s onward as the best and truest American expression in architecture and domestic design. Albrecht and Mellins suggested that the catalyst was the Centennial exhibition in Philadelphia in 1876, but they demonstrated that later expositions reinforced and developed ideas… Full Review

Issues of high and low—fine art versus popular culture—ran rampant through Art in the Streets, organized by the Museum of Contemporary Art, Los Angeles (MOCA). The first major U.S. museum exhibition devoted to exploring the history of graffiti and street art, it took any number of risks with regard to the challenges it posed to conventional notions of museum art. The exhibition succeeded in large measure and was at once raucous, thought provoking, and illuminating. Not surprisingly, it drew impressive crowds. At its best, the exhibition expanded definitions of art, revealing meaning and beauty in the most humble circumstances… Full Review

When describing the carved artworks of the Aboriginal people of the Arctic regions, the anthropologist Edmund Snow Carpenter once observed: “A distinctive mark of the traditional art is that many of the ivory carvings, generally of sea mammals, won’t stand up, but roll clumsily about. Each lacks a single, favored point of view, hence, a base. Indeed, they aren’t intended to be set in place and viewed, but rather to be worn or handled, turned this way and that. The carver himself explains his effort as a token of thanks for food or services received from the animal’s spirit” (16)… Full Review

Organized in collaboration with the United States Patent and Trademark Office, The Great American Hall of Wonders at the Smithsonian American Art Museum (SAAM) celebrated the United States as an exceptional nation. Spanning the entire nineteenth century, but primarily the transcontinental, expansionist period of 1826–1876, the exhibition represented the nation’s citizens in possession of unparalleled democratic liberties and socio-economic opportunities, as they utilized their technological and scientific ingenuity to harness an abundance of natural resources. Echoing Philadelphia’s diverse Centennial Exhibition of 1876, SAAM’s thematically arranged rooms, formerly home to the Patent Office, displayed portraits, landscapes, and genre paintings… Full Review

In an era when attention is fractured into multiple platforms and diffused by multiple media, the singularity of Jim Nutt’s artistic vision stands out: for twenty-plus years—as was made evident in a recent exhibition at the Museum of Contemporary Art (MCA), Chicago—Nutt has been deliberately and meticulously absorbed with painting the female face. Jim Nutt: Coming Into Character, as curator Lynne Warren clarified both in her selections and in the accompanying text, was not a traditional retrospective. Though the exhibition included works from over forty-five years of Nutt’s painting career, providing viewers with an overview of the more diversely… Full Review

The opening of Lynda Benglis at the New Museum marked a surprising milestone in the artist’s career: despite having been a fixture of the New York art world since her arrival from New Orleans in 1964, it was her first solo museum exhibition in New York. What took so long? The story behind Contraband (1968), installed in the New Museum’s glassed-in lobby gallery and the first piece encountered by visitors to the show, hints at reasons for Benglis’s absence. It is a prime example of her “fallen paintings,” the vast “spills” of pigmented latex for which Benglis is best known… Full Review